INDY Week 2.17.16 by Indy Week

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Where does HKonJ go now? p. 8 New Helios? No thanks p. 18 The buried history of Oberlin Village p. 33 Who gets eaten and who gets to eat? p. 34

go.ncsu.edu/drum

Yamato THE DRUMMERS OF JAPAN

Saturday, February 20 at 8pm Stewart Theatre A heart-pounding spectacle of athleticism, precision and exhilarating musical expertise. Breathtaking taiko drumming! Pre-show conversation with percussionist Rich Holly, 7pm. 2 | 2.17.16 | INDYweek.com

PHOTO: MASA OGAWA

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WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 33, NO. 7

6 Six Supreme Court justices have been confirmed in an election year since 1900. 9 In North Carolina, 99.9 percent of proposed regulations take effect (according to the John Locke Foundation, anyway). 10 Two longtime analysts have left since Paul Coble became the General Assembly’s director of legislative services. 13 “DEA cannot make promises regarding confidential informants’ efforts to procure green cards.” 20 At the reopened Café Helios, everyone wants to know if you are having a good time. Alas, we are not. 31 Raleigh rapper NANCE has become one of the city’s ascending emcees. Now, if he’d just stop listening to Drake so much. 33 A hidden cemetery in Cameron Village is all that’s left of the historic black community it displaced. 34 “The history of the world, my sweet/Is who gets eaten and who gets to eat!”: Sweeney Todd in Raleigh.

DEPARTMENTS 6 Triangulator 8 News 11 Citizen 20 Food 31 Music 33 Arts & Culture 36 What To Do This Week

Chickpea sticks at Imbibe (see page 22) PHOTO BY JEREMY M. LANGE

38 Music Calendar 43 Arts/Film Calendar 49 Soft Return

On the Cover: ILLUSTRATION BY SHAN STUMPF

NEXT WEEK: CITIZEN AWARDS

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Raleigh Cary Durham Chapel Hill PUBLISHER Susan Harper

Soundbites at the Pub

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

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Sex Workers Are People, Too

Let’s clear out the ol’ inbox this week. First up: a comment from Nikolai Tiovi Mather of Pittsboro on our story about Kasib Abdullah’s effort to revitalize Durham’s Hayti District [“Grease the Wheel,” Jan. 20]. “I think his efforts are incredible, and I think he should continue doing so much good for Hayti,” Mather writes. “But in order to accomplish such a task, one needs to uplift those who need it the most—and by calling street-based escorts ‘hoes [with] AIDS,’ he is accomplishing the exact opposite. … Instead of spewing misogynistic and whorephobic rhetoric to the general public, Mr. Abdullah should work towards giving the Hayti District’s sex workers opportunities—higher education, careers, economic planning aid, narcotics rehabilitation if needed, and, if sex work is the path they choose, resources enabling them to work the street corners confidently and safely.” Next, this missive from Raleigh resident David Simonton [“Cracks in the Sidewalk Plan,” Jan. 27]: The city’s response to the INDY’s story on a plan to put sidewalks in a neighborhood where not everyone wants them, he writes, “typifies the misrepresentation employed throughout the petition process.” For example, to the city’s argument that “property owners are being assessed only for the street improvements, not the sidewalk improvements,” he counters, “That’s some ‘only’!” He notes that one resident will pay more than $10,000, while six neighbors won’t have to pay anything at all. “And yet their signatures counted as much as everyone else’s.” On INDYweek.com, Neighbors Against Amberly Village inveighed against a proposed commercial development in Cary [“The Grocery Store Invasion,” Feb. 10]. “Here’s why this harmful, unprecedented development proposal is so important for everyone: it would obliterate Cary’s well-founded policy against allowing commercial development next to established single-family neighborhoods. Says who? The town planning staff. … Allowing that would set a terrible precedent for which the town council would be fully accountable.”

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Following a week of successful fund-raisers, Pinhook owner Kym Register pays off the rock club’s $80,000 tax bill at the North Carolina Department of Revenue office. PHOTO BY JEREMY M. LANGE INDYweek.com | 2.17.16 | 5

triangulator Before Antonin Scalia’s ghost even had a chance to haunt its first homosexual, Senate Republicans had already decided on his replacement on the U.S. Supreme Court: no one. That decision should be left to “the next president,” Senate Majority Leader Mitch McConnell and a bunch of other Republicans declared, even though the next president won’t take office for eleven months. On Saturday night, mere hours after we learned that Scalia had shuffled off his mortal coil, North Carolina Senator Richard Burr jumped on the bandwagon: “The American people deserve a say,” he tweeted. “The Supreme Court vacancy should not be filled until there is a new President.” By Monday, the state’s junior senator, Thom Tillis, had joined in. Blaming President Obama’s “utter contempt for our nation’s system of checks and balances,” he argued that “the process of filling the Supreme Court vacancy would be best left to the next President.” Sit down, senators, and let us ’splain some things to you. For starters, we agree: the people do deserve a say. And they had it—four years ago, when Mitt Romney pitched his case that he, and not President Obama, should be able to make Supreme Court appointments until January 2017. The voters, you may recall, went nah. Moreover, the suggestion that a president in his last year lacks the legitimacy to carry out basic constitutional functions is specious at best. It certainly lacks precedent. In 1988, a Democratic Congress unanimously confirmed President Reagan’s choice of Anthony Kennedy for the high court. In fact, since 1900, six Supreme Court justices have been confirmed in an election year. And don’t say there’s no time, either. As The New York Times pointed out, the Senate has never taken more than 125 days to vote on a Supreme Court nominee; there are currently just under 340 days left in Obama’s term. Now, senators, that doesn’t mean you have to approve whoever the president picks. But a blanket refusal to even consider the president’s nominee is, politically speaking, remarkably shortsighted. Take your own reelection, Senator Burr. You’re an odds-on favorite. Unless, that is, something happens that reactivates the coalition of young and minority voters that Obama rode to victory in North Carolina in 2008. Rejecting a qualified— and probably nonwhite—nominee, sight unseen, may just be that thing. Raw obstruction, unmoored from any purpose besides sating a rabid base, won’t play well in November. And not just here, but also in several blue-leaning states where Republicans are seeking re-election: Pennsylvania, Wisconsin, Illinois, New Hampshire, and Ohio. 6 | 2.17.16 | INDYweek.com

ILLUSTRATION BY CHRISTOPHER WILLIAMS

+DO YOUR JOB, SENATORS

Which brings up our next point: this is quite the gamble, like going all-in on a pair of nines. You’re betting on winning both the Senate and the White House, but it’s just as likely that you’ll have a Democratic Senate and a Democratic White House, and President Clinton (or Sanders) will get to appoint whoever she (or he) deems fit. So why chance it, when you can force the president to put forward someone you find at least somewhat acceptable? But, really, those things shouldn’t matter. What should matter is that the president is still the president, and it’s still his job to fill judicial vacancies. It’s your job to offer advice and consent. Do your job, senators.

+NOTHING TO SEE HERE

Maggot-infested mashed potatoes. Rodent feces in the food warmers. Inmates denied toilet paper and medication. To those who have followed the movement protesting conditions inside the Durham County Detention Facility,

such allegations aren’t news. The jail has been dogged for a year with claims of inhumane treatment of inmates. Assault charges against two detention officers in December and the January death of twenty-nine-year-old inmate Matthew McCain have only added to the chorus of voices demanding accountability. Last week, Durham County announced that an independent agency—albeit one under the umbrella of county officials—paid an unannounced visit to 219 South Mangum to have a look around. The impetus was a formal complaint filed by a citizen on behalf of an inmate. “The detention center was due for an inspection—by general statute, we’re supposed to investigate it once a year,” says Chris Salter, environmental-health division director of the Durham County Department of Public Health. “So while we were there to look into the complaint, we went ahead and did the complete annual inspection.” The DCDPH didn’t find much: just a broken dishwasher and a clogged toilet, for a total of three demerits. A jail needs twenty demerits to be given a provisional approval—in other words, probation—and forty demerits to fail. The complaint was deemed invalid. Tamara Gibbs, spokeswoman for the Durham County Sheriff’s Office, characterized the inspection as “favorable” for the jail. Steve Lorenz of the Inside-Outside Alliance, an organization that has been fiercely critical of the jail, says he questions how unscheduled the DCDPH inspection actually was. “The jail is under a lot of scrutiny right now,” Lorenz says. “And I think a significant portion of the community doesn’t trust the symbiotic relationship between the county health department and the county jail. They know there’s growing support for a community-based investigation into the jail, and this is clearly an attempt to forestall that.” Late Friday, the sheriff’s office announced that a state regulatory body had recently conducted a review of McCain’s death. The INDY requested the report but has not yet received it.

+CULTURAL EXPRESSIONS

A small group of teen girls decided to wear geles—African head wraps—to The School for Creative Studies in Durham on the first day of Black History Month. It didn’t end well. Actually, it didn’t end at all. The issues that arose that day, when administrators told the girls to take off their geles, will likely linger well into the foreseeable future. To recap: Durham Public Schools has a policy against “hats, caps, hoods, sweat bands and bandannas or other head wear worn inside school building.” Administrators saw the geles as a dress-code violation.

TL;DR: THE INDY’S QUALITY-OF-LIFE METER

That angered the girls’ parents, including Afiya Carter, whose fifteen-year-old daughter, Assata, was part of that group. “The girls tried to explain to the administrators that they weren’t trying to do anything bad or harmful, and that other kids in the school wear things all the time—you know, like flower headbands, and different things on their heads,” Carter says. She likens it to wearing green for St. Patrick’s Day. “It’s part of being African-American,” she says. “It’s part of our culture.” Parents wrote a petition that included the demand that “a cultural expression exemption be added to the dress code policy.” On February 8, about two-dozen supporters demonstrated outside the school as students watched. “It is very, very common in school districts to have policies against hats and hoodies and other headgear,” DPS spokeswoman Chrissy Deal said the day after the protest. She added that the timing of this controversy—which drew a good bit of TV news coverage—was actually fortunate, since the DPS board was going to discuss the dress code at its February 10 work session. She disputed one oft-repeated claim: that the girls were threatened with suspension. “The leaders of the school, the principal included, have told me repeatedly that suspension never came up,” she said. At that meeting, board members discussed the proposed easing of suspensions for minor infractions—dress-code violations, for example. School board members are in the process of reviewing the Code of Conduct and suggesting tweaks. Cultural exemption wasn’t written into the draft presented last week. It’ll be interesting to see the next one.

PERIPHERAL VISIONS | V.C. ROGERS

-2

The General Assembly convenes a hearing to contemplate new congressional districts after a federal judge tosses the old ones. State GOP executive director Dallas Woodhouse offered his solution: partisan gerrymandering instead of racial gerrymandering. Even more incredibly, he knew his mic was on.

The feds greenlight the next phase of the Durham-Orange County light-rail line. From across the lunchroom, Wake County stares longingly at the cool kids’ table.

-1

John Fennebresque, the former chairman of the UNC Board of Governors, is arrested in Charlotte for trying to take a handgun on a plane. For the love of God, someone tell us he was wearing a Hawaiian shirt and khakis.

Nontenure-track Duke University employees file for an election to unionize. Topping their demands? No more freshman comp lit classes.

The N.C. DMV admits it screwed up in denying ID to an 86-year-old woman who needed it to vote under the state’s new law. Then, in another epic screw-up, they gave her an actual driver’s license.

The search for the next Durham police chief narrows to 14 candidates. Next step is a racial-profiling aptitude test.

Joe Biden visits the Duke Cancer Institute as part of the administration’s “cancer moonshot.” He sadly puts down his space helmet when he realizes he’s not really going to the moon.

Franklin Graham flies to Oregon to help end the standoff at a federal wildlife refuge. Now if we could only get him to stay there.

-3

The state’s plan to drug test welfare recipients turns up 21 positives. The program’s architects celebrated by getting annihilated on top-shelf bourbon at Sullivan’s.

+AIN’T OVER YET

The three members of the Durham City Council who’ve been most engaged on the issue of police body cameras—Steve Schewel, Jillian Johnson, and Charlie Reece—all agreed Monday night that the policy has come a long way since the first draft was released in December. But they also agreed that it hadn’t come far enough for them to sign off on the purchase of $366,738 worth of cameras. Schewel outlined the lingering concerns, by now familiar to those who’ve been following along [“Camera Obscura,” Feb. 10]: What privacy protections are there for ordinary citizens? And what process will exist for the public to gain access to videos? Schewel suggested establishing an independent panel, appointed by the council, to review all use-of-force videos. Reece and Johnson have previously advocated for the automatic release of any footage depicting use of force (juveniles and ongoing investigations excepted). Mayor Bill Bell, growing a bit impatient, said, “I’m ready to move on this this evening. But it appears we have three council members with strong opinions on what should go in [the policy].” He instructed Schewel, Johnson, and Reece to formulate final recommendations and present them to the city manager. The council will hear those recommendations—God willing, the final version of the body-cam policy—on March 7. l triangulator@indyweek.com This week’s report by Jeffrey C. Billman, Danny Hooley, and David Hudnall.

This week’s total: +8 Year to date: +7 INDYweek.com | 2.17.16 | 7

indynews

But We Can Win

THE GENERAL ASSEMBLY ISN’T BUDGING. SO WHERE DOES HKonJ GO FROM HERE? BY DANNY HOOLEY

ern governors of the past. sage of the Racial Justice Act, more recently Walking alongside thousands of HKonJ In retaliation, the UNC governors shut activists have run headlong into the brick marchers from Wilmington Street to Faydown his Center on Poverty, Work and wall of a steadfastly conservative legislature. etteville Street in downtown Raleigh on Opportunity, even though it wasn’t receiving Over the past three years, even as Moral MonSaturday morning, straight into a cruel, substate funding. days protesters rallied, the legislature passed freezing wind—while cursing myself for not wearing gloves or thermals—I was reminded of a scene from The Godfather: Part II, in which Michael Corleone tells fellow mobster Hyman Roth that he doubts the wisdom of investing in a Cuban casino while Fidel Castro’s ragtag army is trying to bring down corrupt dictator Fulgencio Batista. Earlier that day, Corleone had seen a Cuban rebel sacrifice his life to blow up a military officer. “Now, soldiers are paid to fight,” Corleone points out. “The rebels aren't.” “What does that tell you?” Roth asks. “They could win.” They could win. It would be silly to suggest that braving the cold was as courageous and dangerous as standing up to Batista’s goons. But damn, it was cold. And some five thousand protesters were there anyway—undaunted, unwavering, braving that bitter cold for three or four hours. That tells you something about their Despite the freezing temperatures, thousands amassed in downtown Raleigh Saturday resolve, their anger, their frustration. morning for the HKonJ march. PHOTO BY JEREMY M. LANGE “I know it’s cold out here,” the Reverend William Barber, the state NAACP That didn’t stop him. laws that, in their view, harm the sick, starve president and Moral Mondays leader, told Right before the speeches started on Satthe poor, make voting harder for minorities, the crowd, before leading them in a callurday, a bundled-up Nichol talked to me and restrict women’s health-care choices. and-response that listed brutalities faced by about hope. And yet, somehow, this movement is far people fighting for voting rights in the fifties “There’s going to be a great effort all across from dead. People who attended this year’s and sixties. North Carolina to turn people out,” he said. HKonJ still believe they can win. “We—WE—can stand the cold—CAN “Good people also know this is a long battle. Gene Nichol thinks so. The University STAND THE COLD—for justice!” it But I think there’s something in the air. You of North Carolina-Chapel Hill law profesconcluded. can feel it coming.” sor and civil rights activist could have reaThey can stand the cold, sure. But to what This year, Barber organized HKonJ not so son to feel discouraged. State Republicans end? much as a protest but as a voter-education have gone after him hard ever since he wrote While the Historic Thousands on Jones drive, an effort to overcome voter ID laws a scathing opinion piece for The News & Street movement, founded in 2006, racked designed to drive down minority turnout. Observer back in 2013, in which he compared up victories in its early years, including an “This is our Selma,” he told the crowd. Governor McCrory to segregationist Southincrease in the minimum wage and the pas8 | 2.17.16 | INDYweek.com

“This is our time. This is our vote.” College students were deployed to hand out pledge cards for people to fill out. Barber’s goal is to enlist at least five thousand volunteers working in nearly all one hundred counties to help people vote. And on Fayetteville Street, where speeches rang out throughout the morning, the consequences of elections were made very clear. There were pleas for help from relatives of teenage Latinos in North Carolina who’ve been scooped up by Immigration and Customs Enforcement raids in recent weeks. Faris Barakat—the brother of one of the Chapel Hill shooting victims—spoke out against ramped-up hatred against Muslims, particularly from politicians. Another speaker, David Goodman, lived a similar family tragedy fifty-two years ago, when the KKK murdered his older brother, Andrew Goodman, in Mississippi, along with fellow civil rights workers James Chaney and Michael Schwerner. “They were registering African-Americans to vote,” Goodman recalled. “Andy was twenty years old … . Forty-nine years and four days after my brother was murdered, the U.S. Supreme Court gutted the Voting Rights Act. The reason we are here today is that voting rights are threatened again with restrictive laws, practices that make voting overly difficult, inconvenient, and intentionally marginalizing certain citizens.” The rally was over by twelve thirty. Frozen people began to quickly disperse. Barber and Democracy N.C. director Bob Hall called after them to make sure they didn’t walk away without filling out a card. That was the part Barber couldn’t stress enough. It’s cold out there. And it’s a long haul to victory, and sometimes a harsh wind is in your face. But we can win. l dhooley@indyweek.com

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Reined In

MEET N.C. CONSERVATIVES’ NEXT DEREGULATION SCHEME BY PAUL BLEST

CREATIVE METALSMITHS

ings. Of these, Sanders wrote in his presentation, “99.9 percent of agencies’ proposed new regulations take effect.” “Regulations and red tape in North Carolina are almost a fait accompli the moment they’re proposed,” Sanders told the INDY. The Regulatory Reform Act of 2013 already requires a comprehensive review of the state’s regulations over the course of a decade, with the potential for them to be

“Regulations and red tape are almost a fait accompli the moment they’re proposed.” these regulations might have.) Currently, North Carolina has more than twenty-three thousand rules and regulations, which cover everything from environmental protection to workplace safety to hunting and fishing restrictions. In 2013, the state’s codifier of rules told this same joint legislative committee that some five thousand new rules are reviewed every year by the state’s Office of Administrative Hear-

repealed or amended, but the JLF doesn’t think that goes far enough. While almost every proposed regulation takes effect, Sanders argues, only one in five bills do, and while the legislature can pass laws to block new executive-level regulations, this process is difficult. The JLF wants to flip the script: instead of voting to block regulations, the legislature will vote to enact them—and that will mean

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If you’re a Republican in the state legislature, you have to know two things. First, you’ll eventually lose your supermajority. Second, there’s a decent chance that Pat McCrory won’t be governor in 2017, and the next administration might not be so obsequious to business interests. So what do you do? If the Art Pope–founded John Locke Foundation gets its way, you simply render the next governor impotent. On February 2, JLF representatives gave a presentation before the Joint Legislative Administrative Procedure Oversight Committee. There they pitched what Jon Sanders, JLF’s director of regulatory studies, called a “state-based REINS Act.” (REINS stands for “Regulations from the Executive in Need of Scrutiny.”) In short, such a law would block state agencies from enacting “major administrative rules” and require the General Assembly to sign off on many executive actions before they’re implemented. The REINS Act would affect new regulations or rules with a “substantial economic impact”—meaning, in Sanders’s view, a state rule or regulation that costs industry over $1 million. “The underlying aim of REINS,” Sanders wrote in a presentation, “is a regulatory process that is more transparent, more circumspect, and more accountable to the people,

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far fewer regulations. No bill has been introduced yet. But this isn’t a new idea. The JLF’s proposal is modeled after a federal REINS Act that has passed the U.S. House three times since 2011 but never cleared the Senate. That bill would require Congress to pass a resolution to approve any proposed rule that “would have a major impact on the economy, cause significant cost or price increases on consumers, or significantly harm competition, employment, productivity, and other healthy economic activities,” according to the JLF. State Representative Elmer Floyd, D-Cumberland, a committee member who attended the hearing, doesn’t think the REINS Act stands much of a chance in the upcoming legislative short session. It is, after all, an election year. “If there may be a controversy, they’ll stay away from that so we can spend time adjusting the budget and on local bills that are noncontroversial,” he predicts. Such sweeping change is more likely to come up in next year’s long session—unless, that is, Republicans lose both their supermajority and the governor’s office. Still, Floyd adds, “Given the General Assembly, you never know what’s going to come up.” l backtalk@indyweek.com

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Brook No Dissent

WHY DID PHIL BERGER AND PAUL COBLE FORCE OUT A WELL-REGARDED LEGISLATIVE ANALYST? BY JANE PORTER

Nordstrom did, however, question the purOn Friday, the INDY broke the news that pose of the state’s new school-grading system, Kris Nordstrom, a longtime analyst in the which went into effect in the 2013–14 school General Assembly’s nonpartisan Fiscal year, the source says. According to the source, Research Division, had been forced out— instead of identifying where students were technically, he resigned effective Friday, but learning and achieving, Nordstrom argued sources say it wasn’t voluntary—in the wake that the grades only identify which schools of tension between him and lawmakers and poor children attend. Senate President Pro Tempore Phil BergLegislative sources say that it’s likely Berger’s staff over education policy. (Nordstrom er would have had to approve any decision declined to comment.) to let a staffer go. Berger did not respond to Nordstrom, who holds a master’s degree in the INDY’s request for comment. Paul Coble, public policy from Duke, worked as a legislathe Republican former Raleigh mayor and tive staffer for nine years. Legislative sources Wake County commission chairman who (who mostly agreed to speak on background) became the General Assembly’s director of say Nordstrom was considered good at his legislative serjob and was vices (and Norcandid in offerdstrom’s boss) ing his opinion If Coble did force out an analyst in August, says to lawmakers. over a policy dispute, that his office does “Kris Nordnot comment strom was an could have a chilling effect. on personnel excellent anaissues. lyst. I can’t Lawmakers think of a finer who spoke to the INDY last week say it’s fiscal analyst in the division,” says N.C. Jusrare to see a staffer leave so abruptly, espetice Center executive director Rick Glazier, a cially given that the legislature’s short sesformer Democratic state representative who sion, which opens April 25, is just around worked closely with him on education policy. the corner. Nordstrom is the second staffer It’s not entirely clear what specifically led to leave since Coble took over six months to Nordstrom’s ouster. ago: in November, longtime research director One source points to the recent fight Walker Reagan departed as well, for reasons between Berger and the Department of Pubthat are also murky. (Reagan did not return a lic Instruction over diverting $2 million phone call by press time.) from funds set aside for the Excellent Public If Coble did force out an independent anaSchools Act—passed in 2011 to improve early lyst who pushed back against Republican childhood literacy—to compensate for a $2.5 policy ambitions, that could have a chilling million cut to the DPI’s budget. In October, effect on those whom lawmakers rely upon the state budget director told the DPI not to for advice, Glazier says. pay salaries with that money. In January, the “To the extent that the perception exists DPI tried to do it anyway. that legislative staffers are intimidated to But the source adds that Nordstrom wasn’t offer their opinions to lawmakers,” he says, responsible for the DPI’s proposal; in fact, he “it is a sad day for the government of this advised Berger’s staff to craft a special provistate.” l sion to prevent the money from being diverted. So that seems an unlikely culprit. jporter@indyweek.com

citizen

Bowing to Blue Cross

THE ACA’S WEAKNESS IS ITS FEALTY TO INSURANCE GIANTS Hankies were optional when the news hit that Blue Cross Blue Shield of North Carolina lost money again in 2015 because of Obamacare. CEO Brad Wilson told The News & Observer that BCBSNC may stop selling policies under the Affordable Care Act if losses continue, as Wilson predicted they will despite an average 32.5 percent hike in the company’s ACA rates. Well, I certainly hope this doesn’t put a dent in Wilson’s compensation, already reduced to a mere $2.8 million for 2014. There is a problem, however, beyond whether the BCBSNC brass can keep up their mortgage payments. In many parts of North Carolina, people looking for coverage under the ACA have exactly one choice of insurer: BCBSNC. Are we missing the public option yet? Which brings me to the debate between Hillary Clinton and Bernie Sanders over whether a single-payer system of the kind Sanders supports—he calls it Medicare for all—is realistic. Clinton says it isn’t. Not now. Not ever. “It’s an idea that will never, ever happen,” she said in a recent debate. I hope she’s wrong. But what really confounded me was what Clinton said about why single-payer is impossible. “Even during the Affordable Care Act debate,” she said, “there was an opportunity to vote for what was called the public option. … And even when the Democrats were in charge of Congress, we couldn’t get the votes for that.” I don’t think “we” really tried. The public option was the idea that, if we wanted private insurers like BCBSNC to get serious about holding down costs, we should confront them with a government-run competitor, a “public” insurer that could offer lower rates for comparable coverage. A variety of public-option plans were offered during the 2008 presidential campaign. Some called for a public insurer in each state. Others wanted a national insurer—perhaps by expanding Medicare, which has a track record of holding down rates by limiting payments to hospitals, drug compa-

nies, and doctors. Medicare doesn’t take anything off the top for profits, either. The three leading Democratic candidates—Barack Obama, Hillary Clinton, and John Edwards—all espoused a version of the public option. Then Obama was elected, and he didn’t get it done. I wrote about it a lot back then. The bottom line was that Obama thought he could get some Republican votes for the ACA if he dropped the public option (he got zero GOP votes), and at least three of the sixty Senate Democrats Obama needed to push the ACA past a Republican filibuster were against it. We’ll never know whether a determined Obama could’ve persuaded the likes of Joe Lieberman and Max Baucus to get behind the public option. We do know, from reporting by The New York Times and the Huffington Post, that Obama cut a deal with Big Pharma and the for-profit hospital chains to jettison the idea long before the Senate voted. Obama also rejected the idea of folding the ACA into the 2009–10 budget reconciliation process, which would’ve allowed it to pass— with the public option, if the president wanted it—by a simple majority in the Senate. The upshot is that we have the ACA, and more Americans than ever have healthinsurance coverage—about 88 percent, according to the Congressional Budget Office—albeit at an enormous cost. Many with ACA coverage, even if they’re among the eight in ten whose premiums are subsidized, can’t afford to use it because the deductibles and copays typically run $3,000 or more per person per year. Meanwhile, U.S. spending on health care exceeded $3 trillion in 2014, the first year of the ACA, an increase over the prior year of 5.3 percent. That’s $9,253 per person. That’s also 50 percent more than the next most expensive country—France—and twice what the British spend. Draw your own conclusion about the wisdom of Obama’s tactical decisions. What’s not in question is that the extended battle over the ACA, which dragged into 2010,

BY BOB GEARY

led to Democrats losing their majorities in Congress in the 2010 elections. Republican obstructionism has dominated since. So the question is, where now for health care reform? One way to build on the ACA would be to renew the fight for the public option, taking the issue to the voters once again. Another would be to allow people over fifty-five to buy into Medicare, and then over forty-five, and then thirty-five, until it does indeed become Medicare for all. Believe me, as a newly eligible Medicare recipient—I’m sixty-five—nobody with a choice is going to pick BCBSNC over Medicare. But under Obamacare, no one under sixty-

five has that choice. I wish Bernie would spell out how we get from Obamacare to single-payer, either with the public option or Medicare buy-ins. I imagine he doesn’t for fear that Hillary would label him disrespectful for questioning Obama’s handiwork, costing him critical support with black Democrats. But what’s more disrespectful than leaving the ACA the way it is, half-finished? And what’s sadder than believing, as Clinton apparently does, that the only way to achieve 100 percent coverage is under the thumb of insurance companies like Blue Cross Blue Shield of North Carolina? l rjgeary@mac.com

INDYweek.com | 2.17.16 | 11

GLAD Study

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

12 | 2.17.16 | INDYweek.com

THE

SNITCH

FERNANDO PALMA-CARIAS BECAME A DEA INFORMANT.THEN HE KILLED HIS CHILDREN’S MOTHER. THEN THINGS GOT WEIRD. BY JOHN H. TUCKER Shortly before midnight on July 3, 2012, Fernando Palma-Carias called his handler in a panic. Lance Anthony, a Wake County sheriff’s investigator assigned to the Drug Enforcement Administration, was looking into the local arm of a Mexican drug cartel. Carias was his snitch. And Carias was in trouble. “The police, they are trying to kill me!” “What are you talking about?” Anthony replied, according to a case report. “Why are they trying to kill you?” “I did something bad. I shot her.” “Who did you shoot?” “Marisol.”

“Is she OK?” “I don’t know. I think I killed her.”

“I won’t let anything happen to you,” Anthony promised. He told Carias to meet him at the DEA office on Falls of Neuse Road.

INDYweek.com | 2.17.16 | 13

the bar + beverage issue | march 23

Learn to code in Raleigh.

ILLUSTRATIONS BY SHAN STUMPF

Life’s too short for the wrong career.

T H E I R O N YA R D . C O M / R A L E I G H G I V E U S A C A L L : 9 1 9. 4 2 4 . 6 0 5 5

| 2.17.16 1| INDYweek.com 144.9x4.9.indd

2/1/16 9:23 AM

Few people knew about Carias’s secret life. To friends and neighbors, he was a rags-to-riches story, the owner of a South Saunders Street grocery store called Mexico Lindo—“beautiful Mexico.” After escaping poverty in his native Honduras in the early nineties, he’d met a woman in Durham. Though they never married or fell in love, Carias says, they moved into a $385,000 culde-sac home in southern Wake County in 2008, where they raised twin sons. But that night, Carias was freaking out. He drove to the DEA office and stopped his car; Anthony and another agent motioned him forward with a flashlight. Carias, however, detoured a short distance up a road and parked. He jumped out and pointed a 9-millimeter to his chin. The agents took cover behind a parked car. “The gun is not for you or Lance,” Carias shouted. “I like you guys. The gun is for me!” Cops and journalists soon flooded the area. Carias’s mother saw his breakdown on TV and sped to the scene. Through a police megaphone, she begged her son to give up. As the sun began its ascent on the Fourth of July, Carias spotted a sniper out of the corner of his eye and surrendered. He was correct: Marisol Rojas, the woman with whom he shared a house and children, was dead. She was thirty-seven. Though he now claims the killing

was self-defense, Carias pleaded guilty to second-degree murder in 2013 and was sentenced to sixteen to twentyone years in prison. He’ll be eligible for parole in 2029; if that happens, he’ll almost certainly be immediately deported. But that was just the beginning. Four months after his conviction, Carias filed a federal lawsuit—still ongoing— accusing the DEA of luring vulnerable immigrants into dangerous drug operations through empty promises of citizenship. Though his lawsuit is full of sensational claims, Carias is hardly the first undocumented immigrant to accuse the DEA of coercing him into the dangerous world of snitching. (See “The Informant Game,” page 17.) Among the defendants Carias names in his lawsuit is Wake County sheriff’s deputy Jim Cornaire, whom Carias says was his personal DEA escort. Carias alleges that Cornaire extorted money from him and outed him as a snitch to Rojas, prompting the fight that led to her death. (Cornaire, who declined an interview, has denied those accusations.) From there, Carias’s tale gets even stranger. With Rojas dead and Carias in prison, on August 3, 2012, Cornaire—in accordance with Rojas’s will—took custody of Carias’s twins, who are now eighteen. A year later, on the twins’ behalf, Cornaire lodged a wrongfuldeath lawsuit against Carias. A judge ordered Carias to pay $8 million in damages. As much as interviews and court documents reveal about this case, there’s plenty we don’t know. Many of Carias’s claims lack independent corroboration, and the circumstances under which he became an informant are disputed. But we do know that it is against DEA rules to promise undocumented immigrants citizenship, and that the agency’s handling of its informants has recently come under fire. We also know that, not long ago, Carias was living the American dream. If the DEA hadn’t made him a snitch, would he still be? And might Marisol Rojas still be alive?

THE PERFECT MAN FOR THE JOB

Carias, now fifty-one, is five feet four and bald, with olive skin and a squat frame. During two lengthy interviews conducted last year at Raleigh’s Central Prison, he spoke in halting English and hushed tones. He sounded paranoid. “I have very sensitive information,” he whispered at one point. “They are trying to destroy me.” Carias grew up in a one-bedroom apartment in Honduras with seven siblings. Even then he was ambitious. After college, he took out a loan to open a restaurant. In 1991, he left Honduras for America, crossing Guatemala on foot and eventually arriving in Vera Cruz, Mexico. Seven months later, he says, he rafted across the Rio Grande on a tire. He did odd jobs in Houston and Tampa before moving to Durham; he’d heard that some Mexicans had found work in North Carolina’s tobacco fields. Instead of tobacco, though, he landed a job installing computer screws in Research Triangle Park. In 1996, he met Rojas, an undocumented immigrant from Mexico. She became pregnant after they had a one-night stand, Carias says, and they moved in together. Not long after, Carias opened Mexico Lindo with a loan. His store served as a wire-transfer hub for the area’s Latino population. Over the next decade, Carias expanded his business, purchasing a commercial building on Capital Boulevard for $985,000 and opening a sports bar called Flamingo’s. His acumen afforded him life’s niceties. He gave to charities, including UNC Children’s Hospital and the Wake County Fraternal Order of Police, court filings show. But while Carias appeared to be living the good life, he was secretly under federal surveillance. In 2005, not long after he opened Mexico Lindo, Bank of America informed the DEA that Carias was

making corporate deposits in excess of $400,000 a month. The deposits “far exceed the amount of business that is customary for such an establishment,” a DEA official noted in a report. The feds opened an investigation. Carias says Raleigh agents summoned him to their office, where they peppered him with questions about his customers. He denied any wrongdoing, though he acknowledged living in the country illegally. He says that his original handler, DEA agent William Atwell, threatened him with jail and deportation but promised citizenship if he supplied information on dubious customers. Atwell, who retired in 2010, did not return calls. But, in an official declaration included in court records, he said the “DEA cannot make promises regarding [confidential informants’] efforts to procure green cards, and it is not DEA’s practice to do so.” “DEA promised me that they’d never leave me behind because I was contributing to the interest of national security,” Carias counters. “They told me, ‘Fernando, you are the perfect man for the task.’”

machines at Carias’s store. According to Cornaire, Carias began voluntarily supplying him with information about his customers’ illegal drug activity. Carias tells a different story. Cornaire, he says, approached him to deliver a message: he was under investigation for money laundering, and the DEA demanded to meet with him. (A DEA spokesman says the agency doesn’t use third parties when dealing with informants, although Cornaire has acknowledged attending multiple DEA meetings with Carias.) Regardless, the two men hit it off. They spent evenings at Bahama Breeze and Red Lobster. Carias says Cornaire referred to him as his “compadre” and coached him on ways to protect himself from Immigration and Customs Enforcement. “He told me, ‘If you don’t want to be deported, listen to what I’m saying to you. ICE will not arrest you if I am around you,’” Carias says.

In court filings, Cornaire admitted to making one of Carias’s traffic tickets go away, using Carias’s informant status as leverage. And when Carias was battling deportation in 2009, Cornaire stuck up for him. “I have witnessed him being a helpful, honest member of the community and willing to make his community a better and safer environment,” Cornaire wrote in an affidavit. Cornaire and his own teenage son would invite Carias’s twins, Alex and Christian, to family outings, and the bailiff became a regular presence in their lives. “We’d go to the movies,” Cornaire later testified. “We would go on vacation with them—the boys … they would go as part of our family.” The twins may have been escaping a tumultuous home life. “Growing up there was fighting, fighting, fighting,” Christian told the INDY. “My dad is a dick.” Carias also paid Cornaire to provide security at his sports bar. Cornaire, who filed for bankruptcy in 2009, likely appreciated the extra cash. “Cornaire never had money,” Carias says. In 2007, Carias alleges, Cornaire began demanding cash in exchange

COMPADRES

After Rojas’s death, Jim Cornaire told investigators that he first met Carias at Mexico Lindo in 2006. The DEA, he said, had nothing to do with it. Cornaire joined the sheriff’s office in 1998; he was a bailiff, a deputy who keeps order in courtrooms. In 2006, Cornaire started a side business called JMS Vending, which sold snacks at various Triangle outfits. He approached Carias about installing vending

LEFT:

Carias

ABOVE:

Jim Cornaire

for protection from immigration authorities. In court filings, Carias provided copies of several checks, plus one receipt, made out to Cornaire, totaling more than $31,000. Cornaire testified that the checks represented loans that he paid back. Despite this, in 2009, Carias and Rojas appointed Cornaire executor of their respective estates and guardian of their twins. According to Cornaire, Carias wanted to ensure that his twins would continue their American education if he and Rojas were deported. Carias now says he was “duped.” Cornaire wanted to “use the children to get what he wants—the money.”

CARTEL DESTROYER Carias says his work for the DEA was straightforward: identify customers making wire transactions of $2,000 or more; make copies of their receipts, driver’s licenses, social security numbers, tax IDs, bank statements, phone numbers, and, for those who purchased cellphones, account information; listen closely to their conversations; document their license plates; and photograph their faces through a one-way mirror. His code name, he says, was Cartel Destroyer. Atwell says in court documents that Carias voluntarily provided him with information on suspected drug traffickers beginning in 2007. He also admits to promising to testify on Carias’s behalf during deportation proceedings. But using Carias as an informant ran afoul of DEA protocol. “Because Carias was an illegal alien,” Atwell wrote in an official declaration, “DEA policy prohibited Carias from being documented as a confidential informant.” So Atwell contacted ICE, which can register undocumented immigrants as snitches. In 2007, according to court records, Carias was introduced INDYweek.com | 2.17.16 | 15

to ICE special agent Christopher Brant. Carias says Brant promised him citizenship if he became a snitch for ICE. So Carias began snitching for both ICE and the DEA, and on October 30, 2008, ICE rewarded him with a “benefit parole” protecting him from deportation through September 2009. But Carias’s relationship with ICE quickly soured. Carias says Brant wanted him to cut all ties with the DEA. At the time, ICE and the DEA were locked in a turf war; a withering 2009 Government Accountability Office report criticized ICE for failing to share drug-trafficking information with other federal agencies. That interagency rivalry, Carias later testified, led Brant to tell him, “Fuck the DEA.” Carias, however, says he continued to give most of his information to the DEA. Four months later, “when Carias no longer provided any substantial assistance,” Brant wrote in an official declaration, ICE revoked Carias’s parole. On February 23, 2009, Brant personally arrested Carias on immigration violations. During deportation proceedings, Carias’s lawyer told the court that his snitching had saved the life of a Raleigh police officer and led to the deportation of a Zeta cartel member, and that if he returned to Honduras he could be killed. A federal judge released Carias on a $10,000 bond. His lawyer then began negotiating with the feds so that Carias could legally work as an informant. They soon reached a deal. In exchange for his “continued assistance” to the DEA, according to a letter Carias’s attorney sent to the state bar, he was protected from prosecution and deportation. In February 2012, Lance Anthony visited Carias’s store, according to Anthony’s affidavit. He was investigating a Mexican drug cartel that was eyeing a Rogers Lane warehouse as a stash house. The DEA knew Carias was acquainted 16 | 2.17.16 | INDYweek.com

with the drug traffickers; photos from a surveillance operation a few weeks earlier showed Carias with them. Anthony instructed Carias to rent the warehouse with DEA funds and then allow the cartel to use it. Court records offer few details about the operation. But Carias says the cartel’s leader was called El Buitre—The Vulture. According to Carias, The Vulture was smuggling billions of dollars in drug money into the warehouse under truckloads of tomatoes. The operation was at least somewhat successful: Carias’s information helped lead to two cash seizures totaling at least $2 million, according to court records.

A SPECIAL PLACE IN HELL

Five months later, Carias gunned Rojas down in their home. In Carias’s telling, several weeks before Rojas’s death, Anthony told him that Rojas was working for the very cartel he was infiltrating—and she was sleeping with The Vulture. (In court documents, Anthony denies that Rojas was a cartel mem-

ber.) After that, Carias says, he begged Anthony to let him quit snitching and move his children to “a safer place,” according to his lawsuit. “But Anthony became angry and reminded [Carias] of their work contract and threatened deportation if [Carias] quit.” (Anthony denies this, too.) Carias says he requested protective custody, but after the DEA agents brushed him off, he eventually agreed to play dumb. Then, on July 3, Carias and Rojas got into an argument at Mexico Lindo, where she worked alongside him. At one point, he claims, Rojas blurted out, “Jim Cornaire told me you are a government snitch, and we are going to lose everything one day!” He’d never told her about his work with the DEA, he says. “My life was on the line,” Carias says. “My identity was discovered.” She left for their house. According to Carias, when he got home that evening, Rojas confronted him. She grabbed a machete and began swinging it, he claims; in selfdefense, Carias retrieved his Ruger 9-millimeter and pointed it at her.

Carias with his twins and mother (who wished to remain anonymous). RIGHT: Carias’s mug shot

LEFT:

Then he shot her nine times. “After [Rojas] raised the machete to strike me,” Carias explained in his handwritten civil complaint, “I picked up the gun and pointed it at [her] with the intent to scare her. But the look in her eye told me she was going to kill me. She swung [the machete] at me, and I meant to only fire once to stop her. But the gun fired like a machine gun.” Carias’s sons contradict his story. Alex says he heard the commotion and ran downstairs into his mother’s room. “My dad was on top of her

in a strangling position,” he recalls. Christian, meanwhile, heard his mother’s cries for help and called 911. Alex says he was standing a foot away from his mother when she was shot. With Rojas dead, Carias fled the house and called Anthony. (The next day in Rojas’s room— which was separate from Carias’s— detectives found black zip ties, a Bic lighter, and duct tape. They also reported a machete tucked under Carias’s mattress. “Somehow the machete ended up under the mattress instead of where it should have been,” Carias said in his complaint.) As Carias awaited trial, he gave the Cornaires temporary custody of the twins. Cornaire later testified that he began collecting $203 monthly payments from Wake County to help care for them. In 2013, Carias pleaded guilty to Rojas’s murder, a plea he now says was induced by medications he was taking. During the sentencing hearing, the prosecutor suggested that the couple’s fight that day had nothing to do with a drug cartel, but was instead about something more ordinary: jealousy. Carias had discovered that Rojas had provided another lover (not The Vulture) tens of thousands of dollars from Carias’s store, which prompted his rage. When Cornaire testified at the hearing, he lectured his former friend. “Anybody that would murder their mother in front of their children has got a special place in hell for them,” he said. “ … Those are my boys now.”

“We will either settle down as a species or completely wreck the planet.” — E.O. WILSON

n 2010, a joint investigation by The Los Angeles Times and the Center for Investigative Reporting cited at least a dozen cases in which immigrants claimed that, after years of delivering drug-related information under verbal agreements for visas with DEA and ICE agents, they were placed into deportation proceedings anyway. Many predicted they’d be killed upon returning to their countries, a consequence of their informing. Even without explicit promises of citizenship—which they’re not allowed to make—some agents recruit undocumented informants merely by suggesting that it could happen, says Raleigh criminal-immigration attorney Jorgelina Araneda. “They’re pretty slick. They don’t say they will, they maybe say they could, which is true.” But even using undocumented immigrants as official informants runs counter to DEA policy, at least without ICE’s help. In Fernando PalmaCarias’s case, for example, DEA agent William Atwell acknowledged receiving “voluntary” information from Carias, but said in a declaration that he could not register him as a snitch because of his undocumented status. Only ICE could do that. More broadly, the agency’s use of informants has been a recent target for criticism. Last July, a Department of Justice inspector general audit revealed that the DEA routinely flouted informantrecruitment guidelines, failed to regularly review long-term informants’ activities, and permitted informants to sell drugs without oversight. “Despite various instances of DEA resistance to our audit,” the audit concluded, “… the [Office of the Inspector General] has identified certain deficiencies that we believe are indicative of inadequate oversight and management by the DEA of its Confidential Source Program.” The DEA responded by putting a moratorium on seeking federal benefits for confidential sources. —John H. Tucker

TELL THEM I LOVE THEM

Alex and Christian were upbeat during an interview in a Raleigh McDonald’s last August, the day before Christian was to depart for his freshman year at East Carolina University. Alex, an army recruit, had recently completed cadet training at Fort Knox and was about to leave for Georgia Military College. After their mother’s killing, they cut all ties to Carias. They intend to change their last name to Rojas. The brothers also express appreciation for the Cornaires saving them from foster care. “They didn’t have to take us in,” Alex says. If they didn’t, “we would have been separated.” One week after Carias was sentenced in 2013, Cornaire filed a wrongful-death suit against him on the twins’ behalf. He accused Carias of secretly disposing of assets that were rightfully his, including “large sums of cash” stashed inside a Mexico Lindo safe. During a hearing, Carias accused Cornaire of revealing his identity to Rojas. He suggested that Cornaire wanted him dead in order to collect money from his will or life insurance policy. The judge didn’t buy it. He awarded Cornaire $8 million, though that amount was largely symbolic. Carias had no money. Mexico Lindo had already been sold, and the bank had foreclosed on his home. This past August, however, another judge ruled that Cornaire was entitled to the proceeds from the sale of Carias’s last remaining property, the building that once housed his sports bar. The equity, totaling $76,000, will go toward trust funds for the twins, minus Cornaire’s legal expenses, Alex and Christian say. Upon Carias’s release—sometime between 2029 and 2034—and deportation, he suspects he’ll be killed in Honduras. “The Vulture is around,” he says. “My head has a price on it. I’m really not worried for my life, because for me, it is too late.” But his sons, he predicted, “will be targets of vengeance.” He says his family has already received death threats. Toward the end of a final prison interview, Carias grasped for some kind of justification for Rojas’s death. “I know Alex and Christian hate me,” he said. “Tell them I worked for the government. I was an infiltrator in the cartels for national security. And if I die, tell them I love them.” l backtalk@indyweek.com

PHOTO © DIANE E. CHENAULT

THE INFORMANT GAME

E.O. WILSON BIODIVERSITY FOUNDATION James and Cathleen Stone Distinguished Lectureship in Biodiversity

Biodiversity in a Changing Climate: THREE PERSPECTIVES

Tom Lovejoy: George Mason University Healy Hamilton: NatureServe Mark Anderson: The Nature Conservancy March 3, 7 pm, The Carolina Theatre

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LEGALIZE IT IN THREE YEARS, PARTY ILLEGAL HAS BECOME THE INCLUSIVE DANCE PARTY DURHAM DESERVES. NOW, CAN IT HELP GUIDE WHAT COMES NEXT? BY ERIC TULLIS • PHOTOS BY JEREMY M. LANGE

Once there was a glory hole—long since boarded up, mind you—carved into the stall walls in one of the all-gender restrooms at The Pinhook. Depending on your persuasion, the infamous orifice was either alluring or repellent during a lavatory visit at the downtown Durham club. But more important than the hole’s sexual purpose (or those who might have taken it for a ride) is the symbolic role it played in inculcating an inhibition-free space in Durham, a place for people to get wild and free. The Pinhook became that spot, and, in many ways, Party Illegal—Durham’s longest running electronic dance party and one of the Triangle’s most dependable outposts for hyper dancing, hard breathing, and heavy sweating—has provided the fun social experiment that’s helped propel it. Imagine, for instance, emerging from that restroom and finding yourself in the middle of The Pinhook’s dance floor, with fellow attendees swinging giant pink Styrofoam penises at one another, as though locked in an impromptu swordfight, to the sound of earth-quaking trap beats. This particular Illegal party has been dubbed the “all-male DJ night,” a send-up of the underlying sexism many party promoters exploit when they dub events “all-female DJ night” or “Ladies’ Night.” Forget the glory hole; now this is wild. On a December evening late last year, Party Illegal’s principals—Jess Dilday, or DJ PlayPlay; Laura Friederich, or Queen Plz; Ryan Levin, or Sup Doodle; and Patrick Phelps-McKeown, or Treee City—gathered around a conference table in the Durham coworking space Mercury Studios. They laughed about that past “all-male DJ night,” tickled that their inside joke about gender norms within club culture didn’t land quite as well as they had hoped.

But that’s OK. During the last three years, Party Illegal has still managed to capture and reflect Durham’s community ethic by blaring diverse music at its dance parties—and by inviting most everyone in. By booking local and national electronic DJs whose deep knowledge of subgenres includes trap, house, moombahton, bass, club music, and most anything else you care to name, Party Illegal, as Friederich puts it, has fostered “sharing culture.” Party Illegal has given Durham the kind of fully integrated dance party it demands and deserves. “It’s hard to find a crowd that can roll with your own neuroses,” says Friederich. “If we have a crowd that we can keep throwing random stuff at, we’ll have a crowd that doesn’t know what they’re going to get themselves into, which will create a space for experimentation. I want a crowd that is willing to show up and go with us to those creative places.” Party Illegal’s organizers belong to the collective Durty Durham, a group of local artists and musicians who hope to work in creative contrast to the privileged tendencies of downtown Durham’s current redevelopment. For them, Durham’s new identity has repeatedly proven itself to be insensitive to race, class, and gender issues. Party Illegal addresses most of those through something as seemingly simple as a monthly dance party. “We’re pushing for intentional diversity over consistency within a certain genre,” Phelps-McKeown says. “Part of it is the social experiment of throwing four different performers with four different styles with four different fanbases into a room. Everyone came there for something that they can relate to, but there’s also times when they’re going to be completely out of their comfort zones.”

l l l

In 2004, The News & Observer published a story, “Gay? Straight? Let’s dance: A bar with a split identity,” about the eclectic, long-defunct downtown Durham nightclub, Ringside, which once sat right across the street from Party Illegal’s current headquarters at The Pinhook. In the piece, Margie Fishman described Ringside’s identity dilemma and the fate of area clubs whose straight agenda wasn’t sustainable. “Like the swinging gay discos of the 1970s, which were mainstreamed before rock declared the movement dead, local clubs in the Triangle, such as The Power Company in Durham and Raleigh’s Retail, have tried going straight,” she wrote. “They went straight out of business.” Fishman described Ringside as “hopelessly noncommittal” in its refusal to market itself as either a gay or straight bar. A few years later, another ill-fated straight club in downtown Durham, The Edge, went out of business, as did the Main Street nightclub The Republic. Those clubs shared a common problem—their music programming was uninventive, largely catering to a ritzier urban crowd that did not exist in Durham. But when Party Illegal first began at The Pinhook, the club already had a well-known reputation for being a queerfriendly space, thanks in part to the work of owner Kym Register. “I knew that I could do some weird shit, and she would be OK with it,” says Friederich. “It started out more queer because we know a lot of queers and that’s who we were inviting to the party.” As the parties grew, though, maintaining that identity

Party Illegal, in part, is, from left: Ryan Levin, Laura Friederich, Patrick Phelps-McKeown, Jess Dilday, and Avry Marie. 18 | 2.17.16 | INDYweek.com

PARTY ILLEGAL WITH DIVOLI S’VERE The Pinhook, Durham Saturday, Feb. 20, 10 p.m., $5–$8 www.thepinhook.com

“Parties in bigger cities are inherently queer because everybody’s there. There’s something queer about that— about there being a diverse party where anything flies.” proved difficult. More straight people have shown up, enjoying the work of a community they didn’t invent. The challenge has been making all the factions work together. Friederich has been very deliberate about this, even though the course may have veered slightly over the years. “It’s hard when it’s a space that starts out as a queer space and then people are like, ‘The queers have the cool parties, so we’re going to go to the queer parties.’ We’ve struggled with that. One of the spinoffs of that is a lot of the queers are like, ‘I’m out. I don’t wanna hang out with all of these Duke bros,’” says Friederich. “I get that: I have had my ass grabbed by straight white men at an Illegal party where I’m ostensibly in charge.” For her, though, the task has been to bring others into the system she helped create on its preexisting terms, not theirs. “I understand the desire to flee when spaces become straighter,” she says. “I also understand that you can’t market a monthly party to just queers. There’s not that many of them, and they ain’t that rich.” As Dilday points out, Illegal has a consistent track record of booking queer acts that, in turn, attract a largely queer fanbase. Over the past three years, nationally known queer acts such as deft New Jersey rapper Cakes Da Killa, Baltimore club singer TT the Artist, and bass-heavy “Club Kween” UNiiQU3 have been among Party Illegal’s headliners. That helps set the tone for the night, no matter who attends. “It’s starting to resemble a party in a bigger city,” says Dilday. “Parties in bigger cities are inherently queer because everybody’s there. There’s something queer about that— about there being a diverse party where anything flies. Those are hard to find.” As downtown Durham’s redevelopment booms, new residents arrive, and new businesses thrive, the Bull City’s nightlife will have to accommodate a more cosmopolitan mix of creatives, techies, hotshot yuppies, students, and natives. In other words, the city may soon need a real nightclub targeted to all demographics, regardless of sexual orientation. That is, Party Illegal may simply be the start of things to come. But what would that look like, especially in Durham? “It may not look like a nineties disco in Miami,” offers Uzoma Nwosu, who began DJing and promoting electronic parties in the Triangle more than twenty years ago.

“The music has changed, and the venues have changed,” he says. “A lot of the artists that would play in the clubs are playing on rock ’n’ roll stages in amphitheaters as opposed to a dark hole in the wall.” For the past six years, Nwosu has helped run trianglebeats.com, a forum for area electronic artists, show promoters, and enthusiasts to share music, resources, and news. In 2012, he met Friederich and Phelps-McKeown, a year before they launched Party Illegal. He remembers their “wide-eyed excitement about the music” and the “contagious fervor” he experienced during his first Illegal. He recognized that Illegal’s organizers had all of the basic capabilities needed to turn the monthly event into a reputable dance franchise—except, well, the extra financial backing needed to “grab larger, second- or third-tier DJs and bring them into the scene,” he says. Soon enough, Nwosu and his business partner, Michael Shoffner, came on board as Party Illegal’s key investors. To them, it was important that Illegal’s organizers thought about how the parties could become financially sustainable, but the two also made it clear that they weren’t looking for any major return on their investment. “We’ll worry about the money. We’ll pay everybody,” they told the Illegal team. “You just throw a great party.” With that financial backing in place, Party Illegal’s next priority was to make sure they could deliver as much sound as possible, to make sure their inclusive signal was as loud and clear as it could be. “Part of the brand of the event has to be that it sounds good,” says Phelps-McKeown. “I’ve been to a lot of electronic events that did not sound good because they didn’t bring the proper low-end speakers. It’s painfully awkward.” For two years, Illegal rented custom-designed equipment from the Raleigh-based sound reinforcement company Badman Sounds. In early 2015, Badman co-owners Sean Hennessey and Stephanie Teeple sold their entire sound rig—four whopping subwoofers, six cabinets, and two amplifiers—to Illegal. Now Party Illegal can consistently pump out enough lowend bass knock to satisfy an eight hundred-capacity room, nearly four times the size of The Pinhook. Phelps-McKeown seems delighted by the implications. “One of the things that has excited me about Party Illegal

from the beginning is this idea of sound systems and soundsystem culture and setting up speakers in a parking lot or warehouse somewhere,” says Phelps-McKeown. He and his Party Illegal crewmates have already cultivated a relationship with Moogfest. In November, the crew provided the sub-bass speakers for Moogfest’s Dial-Tones workshop before cohosting the event’s after-party. They don’t view Moogfest as Durham’s imported electronic culture vulture, moving in and discrediting all of Party Illegal’s local groundwork. For now, it seems, they see the festival as some benevolent beast. “They need us, too,” Friederich says. “They need the networks that already exist. It’s a very mutually beneficial kind of thing.” l l l

Shortly after I finished chatting with the Party Illegal crew on that December night, a few of them took the short stroll across the street to Tootie’s Bar. Frequent Party Illegal DJ Birdgherl, Durham veteran DJ Chela, and Raleigh house music connoisseur Keith Ward were billed for the traveling dance party Homebass. In the past few years, several downtown spaces like Tootie’s have made their facilities available for electronic events. While mostly a concert hall, Motorco occasionally plays host to dance nights. Still in its infancy, The Revival dance parties at Tootie’s show potential. The Vault’s downtown multiuse space serves as the de facto stop for Afrobeat, house, and soul hoppers. More recently, the underground bar and lounge Arcana has been a destination for eccentric and “super secret” parties. You can credit at least some of this citywide growth to Party Illegal’s “contagious fervor,” as Nwosu puts it, and the larger mission of offering Durham’s marginalized communities a fun, legal, wild refuge for a night. “The more the scene develops in Durham, the better it is for Illegal,” says Dilday, heading to the show. And who knows, that process might produce a bona fide Bull City nightclub sooner rather than later—and, hopefully, one with enough inclusive sense to have an all-gender restroom. l Twitter: @erictullis INDYweek.com | 2.17.16 | 19

indyfood

CAFÉ HELIOS

413 Glenwood Ave., Raleigh www.cafehelios.com

Ain’t No Sunshine

THINKING OF VISITING RALEIGH’S NEWLY REOPENED, ONCE-ESSENTIAL HELIOS? HEY, LOOK, JUBALA’S OPEN! BY GRAYSON HAVER CURRIN At Raleigh’s Café Helios, everyone wants to know if you’re having a good time, all the time. The sever and the cashier, the barista and the bartender, the cook and the busboy: Uniformly, they ask how things were, if you enjoyed yourself, how the drip coffee compared to its pour-over counterpart, if the food tasted good, or how the syrup-wrenched cocktail Lady Luna, like, felt. At first, it seems polite, a sign of professional decorum that the original Helios—which closed abruptly at the end of 2014 after a dozen years in business—often lacked, however beloved it may have been or how pivotal it proved for the revival of downtown Raleigh. But soon enough, the act starts to feel desperate, like sycophancy, or a demand on my happiness, not an inquiry into its condition. For me, perhaps it was the second time the busboy looked me squarely in the eye before 9 a.m. to ask how everything had been. Or maybe it was during a recent Sunday brunch, when one owner—who loomed in the dining room like a scarecrow, meant to fend off his young staff’s potential mistakes and failing— wanted to know what else he could get me. Nothing, but thank you, and for the third time in an hour, no less. For a week, I lied almost every time, whether it was for the breakfast to-go or the drinks at the bar—managing a smile and a “good, thanks,” all while allowing Helios II yet another chance. But now, after a halfdozen trips, I can answer honestly: It was awful, a superficially ambitious simulacrum of a place that had a few small, almost charming problems in the past and has a dozen fundamental concerns in the present. In late 2015, the Tuscany Construction Group upended the Glenwood South real estate market when it purchased the Helios building for more than $1.5 million, a persquare-foot price that set a new precedent. And, as if under pressure to recruit a wellheeled clientele and make up the margins, the space is indeed more ostentatious, with shelves full of liquor, an automated dispenser 20 | 2.17.16 | INDYweek.com

full of bottled wines, and a glass case populated by colorful (if flavorless) macarons. Stained-glass collages decorate and dominate nearly every window, and a ladder that seems swiped from a Restoration Hardware catalog runs along a ceiling-side liquor shelf, like an invitation to buy better, to spend more. The deep orange paint that once reflected the place’s name so well has yielded to bold hues of purple and magenta, green and black. An enormous painting of a solar eclipse looms on a rear wall, like a two-dimensional representation of a Richard Serra monolith. It is, metaphorically, Helios’s new mission statement—to serve as a coffee shop that greets the morning at 7 a.m. and as a wellstocked bar that stays open until, as one employee told me, “everyone finally leaves.” If that’s the aim, Helios should immediately reconsider its entire drink program. During my first visit, I asked about the beans they served—“Stockton Graham, locally roasted right here in Raleigh,” the barista reported. Indeed, Stockton Graham is based in Raleigh, but it’s a macro-roaster with enormous clients and the mantra “blending the art of business and coffee.” It is, in industry parlance, gasstation coffee. It’s kind of like going to a fancy restaurant, ordering a hamburger, and being served two frozen locally sourced patties. The beans are burnt and their flavor indistinct, save the bitter remnant that seems to follow every sip. Whether served through a large drip system or as a four-dollar pour-over, the beans fight to reveal any interesting notes at all. Likewise, the espresso tastes like hot, thin mud, flavored with the charred remains you might scrape from a skillet after you’ve sautéed dinner’s aromatics too long. The Kokulu, a “Turkish-spiced cortado,” adds some distraction, at least, though every time I saw one made, it was presented with a nonchalance that seemed to proclaim, “Sorry, but this coffee just doesn’t deserve nice things.” Don’t dare allow that espresso to infect one of the mixed drinks at night, either. In fact, avoid Helios at night altogether, when straightforward cocktails sport master-mix-

Hey, at least you can drink a lot at the reborn Café Helios. PHOTO BY JEREMY M. LANGE

indyfood ologist price tags, and the kitchen is sealed off with a massive iron grate that suggests it’s been very bad during the day. (To be honest, it probably has.) Really, the Stockton Graham stock is so abysmal that one barista, Adrienne Guthrie, twice offered me beans from other area roasters, including Carrboro Coffee Roasters and Garner’s Full Bloom. She tucks them away in a personal stash beneath the counter. She’s a capable, enterprising barista, and, really, the one point of salvation from a half-dozen visits. Management would do well to follow her lead, to make such a private stock the only public option. While you’re not enjoying your coffee, the breakfast service is competent enough. Helios’ egg-mustard-and-tomato signature croissant, The Early Rise, has been rebranded as the heavier, less zesty, but fine “Early Riser.” The Tex-Mex-style “Energy Wrap” is filling, and a blend of sweet-and-russet potatoes in the side scramble benefits from the unexpected punch of roasted onions and red peppers. Steer clear on the weekends, though, when brunch subsumes breakfast and Helios’s overzealousness becomes, frankly, painful. On a menu filled with steak, duck, Eggs Benedict, and shrimp, even the humble French toast is hilariously bad, from bread and batter to decoration and delivery. Rather than fry the bread, the kitchen roasts it in the oven, which means the egg glaze on top tastes like grilled egg on toast. The “apple marmalade” was a spiceless mush that reminded me of a seasonal

ROSE’S RAMEN WEDNESDAYS

EAT THIS sexual lubricant I’d hope never to encounter again, and the accompanying raspberries had imploded into goop, as if embarrassed to be part of the enterprise altogether. Served on a white rectangular platter, the pieces of bread and the dollops of alabaster cream peaked in a sopping, unseemly mess, a mountain of ill repute. Several days later, I can’t decide if I’m more surprised that bad French toast exists or that I’d survived all these years in relative innocence, having never encountered it. The “triple-grilled” Nutella-and-banana sandwich, at least, was decent, with slivers of banana and a layer of the hazelnut spread pushed between two pieces of average bread, grilled just until the chocolate began to melt, and sliced into triangles. I wondered if my niece, who is five, had ever made one. Had it cost her eight dollars? And had her fruit cup of melons and grapes been partially frozen, too? Maybe the melon came from Stockton Graham. During the past few weeks, I’ve seen several friends arguing online about the new Helios. Some complain. Some praise (typically faint or qualified). Others simply say, “I don’t care what you say. I’m glad it’s back.” I took careful note of those people and, when visiting, always kept an eye out for them. I hoped to get their takeaway after a trip. But I never saw them. When they do go, I hope their sense of nostalgia tastes better than the espresso. gcurrin@indyweek.com

FOOD TO GO: THE TRIANGLE’S BEST FOOD EVENTS HOUSING HEN

Steve Goff, the sleeved butcher of Raleigh’s Standard Foods, is quickly becoming one of the most active new participants in the Triangle culinary scene. After lending his mitts to last week’s Blind Pig Supper Club, he now leads the first in a series of demonstrations, cooking classes, and group dinners at Standard. This time, on Sunday, Feb. 21, he’ll share his technique for butchering a hen before leading the group in a French cassoulet using, as always, North Carolina ingredients. Then, you eat. Next month, Goff leads the crowd through a spring lamb, just in time for Easter? Tickets

are $60. www.standard-foods.com

SMASHING EGGPLANTS

Want to learn to cook something new for less? At Cary’s Divan Center, an outpost for the Turkish-American community, a $20 class on Saturday, Feb. 20, takes up “hunkar begendi,” a rich eggplant puree topped with stewed meat. For the side, you’ll work with bulgur, while the dessert is a rolled cake filled with bananas and a “special custard.” They’ll let you in on the secret. www.divancenter.org Got tips and events? Email food@indyweek.com.

Rose’s Meat Market and Sweet Shop, Durham Wednesdays, 11 a.m.–2 p.m., $12 www.rosesmeatandsweets.com

Where the Bones Go

ROSE’S RAMEN IS A PERFECT WEDNESDAY LUNCH BREAK BY EMMA LAPERRUQUE

Each week, Rose’s Meat Market and Sweet Shop butchers three or four pigs. The meat becomes whiskey breakfast sausage, smoked pork chops, pancetta, porchetta, bratwurst, and chorizo. The bones? Those go to the same place: ramen. Before relocating to Durham, Rose’s owners, Justin and Katie Meddis, lived in San Francisco, home to the oldest of three remaining Japantowns in America. The couple dove into the Bay Area’s food scene like noodles slipping into broth. Only when they moved eastward, to North Carolina, did they realize a good ramen can be hard to find. But after a few noodle-less months, Rose’s rolled out a new weekly lunch special. It’s now their most popular one. “We wanted to make ramen that we wanted to eat,” Justin says. Turns out, a lot of people want to eat it, too. Every Wednesday they do. Two weeks ago, I stopped into Rose’s a few minutes after it opened at eleven a.m. Nine people were already waiting for their food to come out, and more customers poured in

behind me. The room reverberated with each new order: “Ramen,” a woman said. “Ramen,” a man said. “Ramen,” another man said. “Ramen,” I said. We eyed one another, almost competitively. (That day alone, Roses’s served eighty bowls.) Rose’s rotates its ramen every three weeks and doesn’t repeat a recipe for an entire year. The ingredients change with the seasons, so keep an eye out for the spring and summer flavors. (Green garlic, I’m coming for you.) Winter challenges the kitchen to get creative—hence, the Japanese curry I had. Made with pork- and fish-based stock and fromscratch curry paste, the rich broth was as intense as gravy. Slow-cooked apples and carrots lent subtle sweetness and deep color to contrast the hillock of noodles. Currently, Rose’s is running a soy tonkotsu with oyster mushrooms, pork jowl, soft egg, and scallion. When I spoke with Justin late last Tuesday night, he had just set the broth on the stove. As it does every week, it stayed there, simmering and bubbling all night. ● Twitter: @EmmaLaperruque INDYweek.com | 2.17.16 | 21

indyfood

IMBIBE & ZOG’S

108 Henderson St., Chapel Hill www.facebook.com/zogsbar

Over and Under

IMBIBE AND ZOG’S CONSPIRE TO BRING NECESSARY FLAIR––AND SOME QUIRKY BAR FOOD–– TO CHAIN-HEAVY EAST FRANKLIN STREET BY CURT FIELDS If you visit the new Chapel Hill restaurant Imbibe and don’t order the chickpea sticks, reevaluate your life and your choices. Trust me: you need these chickpea sticks. They arrive looking like a Jenga game already in progress. About the size of really thick steak fries, they’re much lighter, with a barely there shell wrapping the interior’s delectable fluffiness. A mix of chickpea flour and salty ricotta, they’re like samosas reshaped into divine rectangular cubes. Ramekins of warm marinara and chilly Greek yogurt ride shotgun on the plate, ready for dipping. After sampling both, I declared the yogurt the winner. No, actually, that was me—I’d ordered the chickpea sticks. Imbibe co-owner Mandey Brown describes the fare of her new restaurant, which sits below her East Franklin Street hideaway and pub Zog’s, as “elevated bar food.” She’s right: the dishes are uniformly interesting but comforting, full of personality but not too off-putting to suffer from being on the student side of town. For a strip now overrun by the lowest-commondenominator chains, Imbibe offers a necessary new respite. The Soy Division pizza, for instance, puts a rich peanut curry sauce beneath bell pepper, scallions, and ginger-soy tofu. The sauce delivers enough heat to tantalize, but only enough to overpower the most timid of palates. That pie satisfied this carnivore, but if you’re skeptical, the Thai Me a River (they’ve got no shortage of puns at Imbibe) mostly subs chicken breast for tofu. And for the future, I’ve already got my eye on the Goodie MOBB and its house-made marinara, port-caramelized onions, bacon, and blue cheese—well, unless I opt for Pangea Tacos, 22 | 2.17.16 | INDYweek.com

The Simple Truth, The Soy Division, and a pint of Gizmo’s IPA, at Chapel Hill’s delightful Imbibe PHOTO BY JEREMY M. LANGE

stuffed with cucumber, cilantro, lemon, Greek yogurt, and either curried chicken or paneer. I tried—and probably failed—to maintain some sense of decorum while continually wolfing down orders of chickpea sticks. A nearby diner who hailed, like Brown, from New Orleans didn’t seem to mind; instead, he waxed glowingly about the authenticity of the Mumbo Jumbo Gumbo and expressed amazement that chef and co-owner Jedd Tyler hails from Oregon, not some swampy bayou. It’s another highlight of the small, selective menu. Otherwise, there are two types of salads, three variations on fries (“curly,” “dirty,” and “filthy,” meaning plain, topped with meat and cheese, or served up with that gumbo), two more pizzas, and Swedish meatballs that fall in the “specialty” category. For dessert, you can choose between tiramisu and the Spumoni

Chalice—“a normal amount of cherry, pistachio, and chocolate ice cream topped with pistachios and cherries, served in a ridiculously oversized goblet.” Its visions of Bishop Don Juan wandering the streets of Chicago while wielding a giant sundae had me giggling … well, maybe that was just the sugar. A bar runs along one side of the narrow, rectangular space, with a dozen tables scattered amid the sleek, dark wood décor. Behind the bar, sixteen taps dispense wine (one red, one white), cider (three selections), and a nice array of beers—The Guilty Party ESB from Gibb’s Hundred Brewing, for example, and Saranac’s S’more Porter. Despite Zog’s upstairs, Imbibe, as the name suggests, takes this part of the business as seriously as the food. Evan Crouch, resident Cicerone and retail manager, is training Imbibe’s staff in the Cicerone program,

designed to create more knowledgeable beer providers. Along with what’s on tap, there’s a small retail corner consisting of a couple of sets of tall shelves and a refrigerated case. You can drink any of the beers or wines from there on the spot. If you’re wondering about the rationale behind opening one bar below another established haunt you already own, know that Imbibe and Zog’s complement each other like yin and yang. Already, people are showing up at Imbibe to have dinner and a beer before migrating upstairs to cap off the night at Zog’s. One night, I recognized more than one face that I had seen a short time earlier downstairs. I see the appeal. Where Imbibe is streamlined, Zog’s is a cluttered mélange of pool tables, dartboards, pop culture signifiers, and New Orleans flair. (“Welcome to the inside of my mind,” Brown says, laughing.) Imbibe has beer on tap but no liquor, while Zog’s has an excellent liquor selection, including a surprising set of Scotches, but no beer on tap. Imbibe opens at 11 a.m. and strives to be “study-friendly,” at least until the sun goes down. At night, expect jazz, either on the sound system or, on Mondays, live. Zog’s, on the other hand, doesn’t open until 5 p.m. Don’t go expecting to study. Zog’s patrons can order from Imbibe, too, and have it brought upstairs, an excellent remedy for billiards-induced hunger. Just remember: whether you’re upstairs or downstairs, you need those chickpea sticks. l Twitter: @BeyondBama

Helping our readers plan their summer activities!

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Carolina Friends School Summer Programs: 919.384.9089 School: 919.383.6602

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Sept. 23

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Robotics with LEGO® Mindstorms

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Robotics with LEGO® Mindstorms

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Nov. 11

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All

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Lego® Technology Camp

Dec. 7-11

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3419 Apex Peakway, Apex 919-303-3368 register online at:

Dec. 14-18

Lego® Stop-Motion w/3D Printing

Dec. 21-25

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All

Dec. 28-Jan. 1

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4 4

www.bounceucamp.com Jan. 18

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LEGO® and Mindstorms® are trademarks of the LEGO Group, which does not sponsor, authorize, or endorse this camp.

BounceU of Apex (919) 303-3368 BounceU.com/Apex-NC

3419 Apex Peakway Apex, NC 27502

Campers will visit the animals daily, learn about the essential role carnivores play in nature, find out what it takes to be a wildcat veterinarian, practice wildlife biology skills, and help some of the tigers express their creativity through painting! After 5 fun filled days campers become the tour guide, leading their families on a guided tour through the sanctuary, sharing all they have learned.

Big Cat Safari: EXPEDITION

Expedition I: Rising 3rd-5th grades June 20th-24th • Session 2: June 27-July 1

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Session 1 July 11th-15th • Session 2 July 18-22

2016 SESSIONS: June 13 – July 1 July 4 – July 15, July 18 – August 5 Open House July 11 1-4:30 pm

CAMP TIMES: 9-4PM with optional Before and Aftercare CAMP COST: $300 BEFORE CARE: $25 for the week (you may drop your child off as early as 8:00 AM) AFTER CARE: $35 for the week (you may drop your child up as late as 5:30 PM)

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JUnE 13 - JUly 22 Middle School Students Have fun, make friends and explore theatre with professional acting teachers.

Join us for one week or all six! 919.962.2491 jwales@email.unc.edu

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Carrboro’s Cirque Sanctuary Providing empowering embodiment for all ages The Flowjo provides a fun, exciting and safe environment for exploring movement, performance and building community. The Flowjo Summer program for youth 5+ focuses on Aerial Dance, Hooping, Circus Arts, Yoga & Bodymind Camps.

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CAMP GuIDe

Durham Regional Theatre SUMMER THEATRE CAMPS 2016 Building Community, Character & & Careers Since 2010 MONDAY – FRIDAY, 9 am – 3 pm

June 13 – 25 CHILDREN’S THEATRE CAMP 1 (Ages 6-12)

June 27 – July 16 TEEN THEATRE CONSERVATORY (Ages 12-18) (Off on Mon. July 4) Performing “The Twilight Zone”

July 18 – 22 A PLAY A DAY 1 (Ages 5-12) July 24 – Aug. 6 CHILDREN’S THEATRE CAMP 2 (Ages 6-12)

August 8 – 12 A PLAY A DAY 2 (Ages 5-12)

(919) 286-5717, durhamregionaltheatre@gmail.com, durhamregionaltheatre.com (Formerly Known As Durham Family Theatre)

WEEKLY CAMPS & CLINICS MON - FRI 12:30-3:30pm Please see website for schedules

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The Machine performs

PINK FLOYD Thu Feb 18

www.lincolntheatre.com FEBRUARY

Th 18 THE MACHINE performs PINK FLOYD Fr 19 MOTHER’S FINEST 7p w/ The Soul Psychedlique

Sa 20 NEVER SHOUT NEVER + 6:30p

w/Metro Station/Jule Vera/Waterparks

Su 21 KELLY HOLLAND MEMORIAL 4p

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

Fri Feb 19

Mother’s Finest

OPERATION MINDCRIME w/The Fifth / Hayvyn 7p

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

T u 1 Y&T 7p We 2 RANDY ROGERS BAND w/ Wade Bowen

Never Shout Never Tue Feb 23

Th 3 Fr 4 Sa 5 Su 6 We 9 Sa 12 Su 13 Th 17 Fr 18 Sa 19 Su 20 Tu 29 We 30 Th 31

TITUS ANDRONICUS w/Craig Finn LEADFOOT w/Walpyrgus + THE CLARKS w/The Iller Whales PINK TALKING FISH 7:30p JUDAH AND THE LION 7p JOHN MAYALL BAND 7p CEE-LO GREEN w/Escort 7p MAC SABBATH w/Aeonic 7p The Voice THE BREAKFAST CLUB of STEEP CANYON RANGERS + 8p QUEENSRYCHE WE THE KINGS w/AJR, She is We+ TWIDDLE w/Groove Fetish 8p AUTOLUX STICK FIGURE w/Fortunate Youth

Fr 1 Sa 2 Su 3 Th 7 Fr 8 Fr 15 Sa 16 Su 17 Th 21 Fr 22 Sa 23 Th 28 Fr 29 5-14

Operation: Mindcrime START MAKING SENSE THE MANTRAS THE INFAMOUS STRINGDUSTERS ELLE KING (SOLD OUT) DELTA RAE 8p JJ GREY & MOFRO 8p LAST BAND STANDING & YARN DOPAPOD w/The Fritz 8p SOMO 7p BIG SOMETHING THE OH HELLOS Sat Feb 27 STEEL PANTHER KING MEZ Sun FLATBUSH ZOMBIES

Sister Hazel

APRIL

Advance Tickets @Lincolntheatre.com & Schoolkids Records All Shows All Ages 126 E. Cabarrus St. 919-821-4111 30 | 2.17.16 | INDYweek.com

Sat Feb 20

Fri Feb 26

Geoff Tate’s

Mar 13

CeeLo Green

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ever

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indymusic

NANCE

Southland Ballroom, Raleigh Friday, Feb. 19, 10 p.m., $10–$12 www.southlandballroom.com

Wordless or Wordy

AN ASCENDANT RALEIGH RAPPER SAYS TOO MUCH, WHILE AN INDIE ROCK FAVORITE QUIETS HIMSELF DOWN MAC MCCAUGHAN STARING AT YOUR HOLOGRAM (Merge Records) Does Mac McCaughan possess a musical trademark more distinctive than his voice? Sure, his thin, incisive riffs have long cut through the churn of Superchunk. And yes, his lyrics have often been wonderfully agitated and impudent, whether directed at infamously slack coworkers or at all the people with whom he’s through. But it’s hard to imagine the rise of any of his projects—and, arguably, Merge Records—without McCaughan’s adenoidal tone, a perpetually entreating instrument whose youthful ardor seems to have existed in amber for more than a quarter century now. It cracks when he croons, frays when he screams. It threads together his entire oeuvre. That’s why, at least at first, McCaughan’s new Staring at Your Hologram makes for such an uncanny listen. McCaughan took the tapes from last year’s synth-heavy NonBelievers and reimagined them as an almost entirely instrumental collage, an uninterrupted 40-minute record where florid keyboards and scattered machine beats work to form a pillowed cocoon. Here, the thick riff of “Box Batteries” hums beneath Technicolor arpeggios, a vile monster suddenly tamed by pastel accessories. The wafting electronics of “Mystery Flu” shape the lace around a four-on-the-floor beat, like neon rays scattered from the surface of a Krautrock pulse. The results conjure a wide range of instrumental predecessors—from the immersive majesties of Harmonia to the propulsive machinations of Collections of Colonies of Bees, from the fuzzy warmth of a Kompakt mix to the sinister linings of a John Carpenter score. Most of these touchstones were

evident enough on Non-Believers, where they interacted with influences like The Cure or Tall Dwarfs. Here, though, they speak only to one another, as McCaughan works to web them together in ways that, especially at this point in his career, seem novel. It doesn’t always work; the stitches show early and often, and the record sometimes feels like a game of “spot the reference”

with someone whose record collection is, well, very good. If there was mystery left in Non-Believers, or in the sound sources McCaughan had in mind, Staring at Your Hologram dispatches it. It’s fitting that, through all his shows and sessions, McCaughan’s voice has mostly managed to remain intact, the Triangle’s musical corollary to Mike Krzyzewski’s jetblack hair. Whether recruiting new energy to Merge, revitalizing Superchunk in earnest after a long break, or dropping the Portastatic moniker in order to make a record about nostalgia and innocence down in his basement, McCaughan has long seemed to be striving to retain his youthful connection to music by reinventing his relationship with it. Staring at Your Hologram feels like another instance of that impulse, another chance

to skirt signs of age by trying another new trick. This is neither perfect as a stand-alone nor essential for fans of Non-Believers, but McCaughan’s fellow indie rock giants have delivered much more awkward, much less fun attempts at reinvention than this in their own time. At least this one is nice to stare at, just for a little while. —Grayson Haver Currin

NANCE EVERYTHING I NEED (self-released) Hip-hop trends come and go, but one thing will never become irrelevant: context. The same line that’s a dud for one rapper may bring down the house for another; being a great rapper is as much about knowing that difference as it is about rhyming words. That’s the takeaway from Everything I Need, the new EP from rising Raleigh emcee NANCE. It is a testament to the rapper’s vast improvements and a midterm report card on what fixes remain. Everything I Need starts strong with

“Family So Proud,” an anthem that sets an energetic tone for the rest of the EP. Though the record’s production is polished, it’s never better than on the second track, “Fall Forever,” a story about love that inspires one of NANCE’s best songs yet. Soon, however, the EP slips into a rut with “Cold Young Boy” and “Feelings”—thematically identical songs, positioned backto-back. The two tracks are also the harbinger of an imitation problem that ends up weighing down much of the project. Consciously or not, almost every rapper today is taking notes from Drake’s blueprint, but the correlations on Everything I Need are overt and unavoidable. It’s not that NANCE’s Drizzy impression is particularly poor; in fact, songs like “Cold Young Boy” and “Day Ones” are perfectly enjoyable in the background because they suggest songs we already know and like. Ultimately, they accomplish what most imitations do: make the listener yearn for the original. NANCE’s rapping is best when he deploys it to tell his own story, and there are breakthrough flashes of such honesty. During the title track, a repurposing of Kanye West’s “Everything I Am,” NANCE raps: “Last night I had a dream, I made 100 grand/The show was really local, and I probably made one fan.” Coming from an artist who has yet to break through on a national level, the self-deprecation of performing a whole show to just make one new fan feels refreshing, genuine. That honesty doesn’t come at the expense of confidence or pride, either. He’s still making a new fan, still climbing the rungs, becoming the bigger name. The line feels like more than bluster, more than cliché one-upmanship. This is NANCE’s perspective. It’s the kind of line that NANCE could have used more often on Everything I Need, which, for long stretches, feels more focused on the idea of being a rapper than telling the stories of one. —Ryan Cocca INDYweek.com | 2.17.16 | 31

music

POP. 1280

Slim’s, Raleigh Monday, Feb. 22, 9 p.m., $5 www.slimsraleigh.com

Abandoning Eden

IVAN LIP: For us, it’s also very personal. CB: If you look at the lyrics, more of the lyrics are about personal failures or observations— things we see on a daily basis. This isn’t a big diatribe about mass shootings or iPhones or whatever. If there’s something we’re critiquing, then chances are it’s something we’re noticing in ourselves as much as the people we’re critiquing.

ON PARADISE, BROOKLYN’S POP. 1280 SUGGESTS ALL MIGHT BE LOST BY PATRICK WALL

Is anyone listening? Pop. 1280 PHOTO COURTESY OF SACRED BONES RECORDS

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

“Recommended to fans of Sharon Jones & the Dap kings and ARETHA FRANKLIN.” —Rolling Stone “JOYFUL, REVERENT SONGS with elements of VINTAGE SOUL and R&B.” —Wall Street Journal

Sunday, Feb. 21 • 4pm

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

GarnerPerformingartsCenter.com 32 | 2.17.16 | INDYweek.com

ŘŖŗř

Paradise, the third record from Pop. 1280, doesn’t celebrate the idea of utopia as much as it examines the concept’s implausibility. The Brooklyn industrial punks venture far beyond the conventional realms of those terms, splicing squalid synthesizers and jackboot drum machines onto the same sort of grating squall it sharpened for 2013’s The Imps of Perversion. Pop. 1280 evokes absurdist dread. Lyrical gloom mirrors the totemic industrial drones, as vocalist Chris Bug unloads philippics against the ills of modern technology and the perceived dreams of our collective iPhone world. “Pain and pleasure won’t last forever,” he seethes during “Chromidia,” implying that neither will those who feel them. Winter storms that slammed into New York forced Pop. 1280 to reschedule the release show for Paradise, like a confirmation of the doomsday tidings it brings. But not long after the band at last hit the stage, Bug and multiinstrumentalist Ivan Lip spoke about the record’s roots in public and personal darkness.

PARADISE CHRIS BUG: It has a clear meaning for us—almost like hope and aggression at the same time. Like, maybe what’s going on right now isn’t good, but could it get better? It’s hope, but it’s a more cynical construction. Chances are we’re not going to actually make society that much better. Maybe at our pace, we’re going to destroy ourselves, whether it’s with clubs or Obama’s drone army.

TECHNOLOGY IL: We’re definitely not anti-technology. Part of our frustration is our belief that the same energy that’s put into figuring out how to make iPhones could be used for something else. I’m not a scientist, so I don’t know what those things necessarily could be. But we think a lot about the romance of human exploration, like going to the moon. And that just fell by the wayside in the late seventies. Now we make rockets and drones instead. CB: I think most intelligent people think the same way, but it doesn’t seem like a topic people are hung up on. It’s impossible to look at the moon landing and not think, “What the fuck are we doing?” PARANOIA CB: At least one or two of the

songs definitely reference the NSA and wiretapping. Just the basic idea that Edward Snowden outlined—and he isn’t the first person to come up with the panopticon—the idea that, if you’re being surveilled, or even if there’s a chance that you’re being surveilled, it’s going to change how free you are and the way you think about the world. I find it alienating and depressing to know that.

BOUNDARIES IL: The chances of us making a record that sounds like The Chieftains is pretty low. CB: Well, now that you mention it… INEVITABILITY IL: If you look back at human history, there’s definitely an absurdist element. It seems like everything repeats in these cycles. And the only thing that really changes is technology. Technology changes, but how many times have civilizations come and gone and then rebuilt themselves over and over again? I’m not sure that I’m convinced what we have is not going to be over in five hundred or six hundred years. CB: And I think about that in art, too, a lot: “Does what we’re doing matter?” And, in general, I think we approach our music as art, and that makes me feel not as insignificant. l Twitter: @weekendsofsound

indyculture

DISCOVER OBERLIN CEMETERY, A BURIED HISTORY OF BLACK PROSPERITY HIDDEN IN CAMERON VILLAGE BY CRISTEL ORRAND

Driving down Raleigh’s Oberlin Road today, it’s hard to imagine that, sixty years ago, this was the suburbs. Dominating the area since 1949 is Cameron Village, but even that pinnacle of shopping centers has changed. Gone are the underground clubs of the seventies and eighties. Gone are the Smurf-blue awnings of the nineties, when you could park for free and walk to campus. When the city is for sale, property isn’t the only thing that changes. History, culture, and people change, and sometimes they are irretrievably lost. When Ten Thousand Villages recently closed after twenty years in Cameron Village and relocated to Cary, it got me thinking about another, much older village: Oberlin Village, one of the original thirteen freed African-American communities in North Carolina, which has all but disappeared. One of its vestiges, hidden from view and accessible only from the back of the InterAct parking lot, is Oberlin Cemetery, one of several historic African-American cemeteries in the area. Mostly without headstones or makers, these depressions in the earth represent the forgotten people of a forgotten place. The land Cameron Village sits upon was owned, in the earlynineteenth century, by Duncan Cameron, a statesman, judge, and major general with ties to UNC and St. Mary’s. Cameron made his fortune investing in property—both land and slaves. There are the expected records of abuses, casual racism, and threats to runaways, but that history is complicated. The family that made so much of its fortune in the slave trade were also educators, supporters, and allies of African-Americans. The Cameron family moved slaves accused of crimes north to prevent their executions. Cameron letters frequently related news of the “negro family” alongside news of their own, and former slaves kept in touch with the them after emancipation (literacy was common among Cameron slaves). After the Civil War, the Camerons gave land along Oberlin Road to their former slaves, as both owners and tenants. During Reconstruction, James Harris, former slave and future senator (1872), purchased acreage from the Boylan and Cameron farmland. In 1866, he founded Oberlin Village as one of the first free black communities in North Carolina. Harris was the president of the Raleigh Cooperative Land and Building Association, which developed Oberlin Village into individual plots. Residents purchased these tracts with income earned as cobblers, masons, blacksmiths, soldiers, farm workers, laundresses, nurses, and teachers. The area produced many pioneering and influential Afri-

can-American Raleighites. James Shepherd was born and raised in Oberlin before he founded North Carolina Central University. John Baker, the first black sheriff of Raleigh, grew up in Oberlin. Joseph Holt Jr. was one of the first to challenge school segregation in Raleigh in 1956, twenty years before Raleigh schools were fully integrated with the merger of the mostly white Wake County and the mostly black Raleigh City school systems. Reverend Morgan Latta founded Latta University, a school and orphanage for freed slave children, on the same land where he was once a slave. The Victorian houses that remain today along Oberlin Road, Clark Avenue, and Wade Avenue are a testament to the remarkable prosperity the Oberlin Village families created within a single generation of slavery. And they might have continued to flourish, if it hadn’t been for a curious thing that is almost repeating itself today: nobody wanted to pay to park downtown. With the economic growth and stability Americans felt after World War II, shopping on Fayetteville Street Mall was getting crowded and costly. In 1949, developers J.W. York and R.A Bryan opened a new shopping center in the suburbs as an alternative to downtown, right on top of Oberlin Village, naming it Cameron Village after the original landowners. By the early fifties, Oberlin Village and most of its living inhabitants were gone. Of course, we know what impact this decentralization had on downtown for decades thereafter. In the sixties and seventies, shopping areas and housing extended again, this time into North Hills and Crabtree. In the early aughts, government-subsidized housing in Mordecai and Oakwood was torn down, with many residents relocated to North Raleigh, to make way for yet another shopping center. Just last year, the condos at 401 Oberlin Road were sold for $65 million by Taft (who bought the original building from the same York family that still manages Cameron Village) with no attention paid to the traffic it created, much less to the historical significance of the area. Today, the gentrification of downtown Raleigh is moving so

Only a few burial markers tucked behind a parking lot in Raleigh remain of Oberlin Village. PHOTO BY CRISTEL ORRAND

A Grave Undertaking

quickly we’re paying for parking again—and pricing and pushing out historic African-American communities. We can’t, and shouldn’t, stop development. But instead of construction, what if we looked to the past, and Reconstruction—the idea that we can preserve and strengthen our communities through sustainable building, corporate and government responsibility, and public-private partnerships? Could we start with investing some of that new municipal parking revenue in Oberlin Cemetery or the historic downtown? Legally, no one owns Oberlin Cemetery. It’s cared for by the grassroots nonprofit Friends of Oberlin Village. The cemetery formally started in 1873, and 145 burial sites are known, but it’s believed that its origins predate Reconstruction, with as many as six hundred people, including antebellum slaves, buried there. The next step is to raise funds for a thermal scan to determine the burial locations for preservation. Whether or not Oberlin Cemetery disappears is up to us, just as what happens to all of Raleigh is up to us. l AmalgamistBooks@gmail.com INDYweek.com | 2.17.16 | 33

indystage

SWEENEY TODD

Raleigh Little Theatre, Raleigh Thurs.–Sun. through March 6, $20–$27 www.raleighlittletheatre.com

Close Shave

THIS DEMON BARBER’S RAZOR IS SHARP AT THE POINT BUT DULLER AT THE EDGES BY BYRON WOODS

Our well-being comes at a high karmic price: the termination of the plant and animal life we consume. This qualifies the pacifism of even the most devout Buddhist; of necessity, we are all killers. The rest is a matter of ethics and degree—a question of taste, if you’ll pardon the phrase. Stephen Sondheim acknowledges as much in his famous 1979 musical, Sweeney Todd. It mocks the horror of its title character's dual career as a serial killer and a fresh-protein provider to Mrs. Lovett's pie shop. Both services are rendered on Todd's bloody road to vengeance against Judge Turpin, a corrupt London magistrate who coveted Todd's wife and had him deported. You’ve got to break a few heads if you want to make an omelet, it seems. Indeed, it’s far too easy to nod along with Sondheim’s sweeping, giddy chorus when Todd concludes, in the mordant theatrical centerpiece “A Little Priest,” “The history of the world, my sweet/ Is who gets eaten and who gets to eat!” It would be hard to find a plainer voicing of the ruthless social Darwinism of England’s industrial revolution. In this Raleigh Little Theatre production, such sensible sentiments are voiced by persuasive leading actors. Under Patrick Torres’s direction, David Henderson is more haunted—and, occasionally, more

psychotic—than when he first performed the title role in Chapel Hill in 1992. And gifted comic actor and singer Rose Higgins clearly deserves more mainstage time in roles like Sondheim’s overweening pragmatist, Mrs. Lovett. Her work on “A Little Priest” and “The Worst Pies in London,” with veteran musical director Julie Florin, is authoritative. Unfortunately, my occasional criticism of RLT productions comes up again: supporting roles must be just as convincing as these distinguished leads. As the barber Pirelli, Areon Mobasher adds another memorable performance to an increasingly impressive résumé, but, on opening night, Edward Freeman grew increasingly off-key as Anthony, the romantic interest of Todd’s daughter (Rachel Pottern). And perhaps it was the vocal range of Judge Turpin’s part that forced Joel Rainey to sometimes sing, sometimes speak his lyrics. Brian Westbrook seemed more peevish than truly menacing as Turpin’s henchman, while Ben Pluska remained too much a cipher as Todd and Lovett’s servant. Still, designer Vicki Olson’s incisive, occasionally droll costumes vividly detail the characters, and Chasta Hamilton Calhoun’s choreography outfits a martial chorus, giving the show’s madhouse scene a phantasmal air.

A little off the top: Sweeney Todd at Raleigh Little Theatre Miyuki Su’s atmospheric set design falters, however, during the final scenes in Lovett’s hellish bakehouse. In all, this Sweeney Todd is a bit too close

the bar + beverage issue | march 23 34 | 2.17.16 | INDYweek.com

PHOTO BY ELSPETH MCCLANAHAN

to a theatrical equivalent of Mrs. Lovett’s pies: toothsome on the top, with more questionable ingredients below. Bon appétit? l Twitter: @ByronWoods

indyscreen

SON OF SAUL Opening Friday

Unfortunate Son

Géza Röhrig in Son of Saul PHOTO COURTESY OF SONY PICTURES CLASSICS

HOLOCAUST HORRORS HAUNT THE EDGES OF THE EXCRUCIATING SON OF SAUL BY CRAIG D. LINDSEY The Hungarian drama Son of Saul, which won the Grand Prix at Cannes last year and is tipped for best foreign film at the Oscars, deliberately gives an unusually narrow view of the Holocaust. Virtually everything is shown from the perspective of Saul Ausländer (Géza Röhrig), a Hungarian-Jewish prisoner in an Auschwitz work unit, or Sonderkommando, which is responsible for rounding up prisoners and leading them to their deaths. One day, while cleaning a gas chamber, he sees the body of a boy, who had barely survived a mass execution before a Nazi

doctor finished him off, and decides to give the kid a proper Jewish burial. He then goes on a quest to find a rabbi, colluding with one of his fellow Sonderkommandos, who are brewing a rebellion against their captors—all to do right by the boy. Saul takes a literally in-your-face approach to showing how concentrationcamp prisoners lived through such a hellish nightmare. First-time director and cowriter László Nemes usually has his lens locked on Röhrig’s face, catching all his silent emotions as he tries to do something good for once. The camera is often behind

him, catching horror and carnage in the background, blurry and out-of-focus. This conceit is both perplexing and intriguing. We get the sense that there is a more intense, exciting Holocaust film happening all around Saul, who is too focused on his own mission to pay it any mind. It is impressive how Nemes stages action sequences as background fodder. It also might visually imply how jaded men like Saul must have become, dragging around piles of naked, lifeless bodies on their way to be incinerated. But the movie never stops to take in the atrocity and inhu-

manity of it all. We and Saul are ceaselessly and aggressively pushed, poked, and led in different directions, with the threat of death at one wrong step always lingering. Like so many other Holocaust films that aren’t Life Is Beautiful, Saul naturally exudes a bleakness that might leave you unable to rise from your seat after it’s all over. I had to watch it again just to remind myself it wasn’t shot in black-and-white. Though exhaustingly grim, it reminds the viewer that a moment in history this horrific should never, ever be forgotten. l Twitter: @unclecrizzle

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The INDY’S GUIDE to ALL THINGS TRIANGLE

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02.17–02.24 THURSDAY, FEB. 18–FRIDAY, FEB. 19

THURSDAY, FEB. 18

PYLON REENACTMENT SOCIETY For a moment in early-eighties Athens, Georgia, just as R.E.M. and the B-52s were polishing their chops, Pylon—led by Vanessa Briscoe Hay’s take-no-prisoners vocals and Randall Bewley’s slashing guitar—was the band others measured themselves against. Upon hearing Pylon’s “Crazy,” Peter Buck declared that “Radio Free Europe”—the single his band had just released—was wanting. R.E.M.’s eventual cover of “Crazy” raised Pylon’s profile significantly, but the band never broke big. Re-forming for brief tours in subsequent decades, the members finally retired the name after Bewley died in 2009. But the music lives on through Pylon Reenactment Society, a mix of original members and talented extras, including Joe Rowe of The Glands. Neither a tribute act nor a re-enactment, this is a sincere revisitation of a band that, much like Big Star, never received its due in its own time but has influenced and inspired in lasting ways. Dressy Bessy opens. —David Klein CAT’S CRADLE, CARRBORO 8:30 p.m., $15–$18, www.catscradle.com

LUCY ALIBAR: THROW ME ON THE BURNPILE AND LIGHT ME UP When your father’s telling you how he wants to go, you pay attention. The central character in playwright, performer, novelist, and screenwriter Lucy Alibar’s new work, Throw Me On the Burnpile and Light Me Up, is amazed to learn her father wants his burnpile—a collection of “dead vines, dead trees [and] furniture Daddy broke in his rages”—to be his funeral pyre. What’s more, he’s making her responsible for it: “Daddy says, ‘Boss, I’m gonna put you in charge of my checkout time, because the Bosslady loves your Jesus too much.” Alibar co-wrote Beasts of the Southern Wild, which won awards at Cannes and Sundance in 2012; over the past year, she’s been performing this reflective tale of a rural Florida childhood with a curmudgeonly defense attorney for a father in New York and Los Angeles. Now she brings it to Chapel Hill, courtesy of Carolina Performing Arts. —Byron Woods MEMORIAL HALL, CHAPEL HILL 7:30 p.m. Thurs./8 p.m. Fri., $10–$30, www.carolinaperformingarts.org

SATURDAY, FEB. 20

SARAH SHOOK & THE DISARMERS Sarah Shook is tougher than you: On last year’s stunning Sidelong, the Pittsboro firebrand delivered a dozen rollicking country anthems about the multifarious ways that things—love, life, parents, partners, heroes, hearts—can go wrong. In “Dwight Yoakam,” a lover runs off with a doppelganger for the hat-wearing crooner; in “Make It Up to Mama,” the wild-running, often-arrested progeny shows the conservative mother she loves her … with a new tattoo. But these songs, which sparkle with bright electric licks and jitter as though loaded with a cocktail of caffeine and cocaine, actually work more as testimonials of perseverance than as weepers. Shook takes her licks and delivers ’em right back to the world at large. The songs on Sidelong are sharp and barbed enough to make Shook a rebel on toothless country radio, but there may be no better setting for her work than beside the bar she sometimes tends at The Cave. These are caustic confessionals, after all, delivered up close and loudly. With Wahyas and Lost Dog Street Band. —Grayson Haver Currin

36 | 2.17.16 | INDYweek.com

Sarah Shook

Your Week. Every Wednesday. indyweek.com

PHOTO BY JUSTIN COOK

THE CAVE, CHAPEL HILL 9 p.m., $5, www.caverntavern.com

SATURDAY, FEB. 20

ACTUAL STATE

In a recent New Yorker article, “The Custodians,” Ben Lerner wrote about the Whitney Museum’s conservation dilemma with the art of Josh Kline, whose 3-D-printed body parts are neither meant to last nor possible to print at full resolution with current machines. As new technological art forms make existing standards obsolete, we have to ask new questions, like, “What does it mean to preserve something that doesn’t really exist yet?” And there is still plenty of heat in the topic of tinkering with old paintings, which, after centuries, involves a lot of reversing of tinkerings past. NCMA flings open the usually closed doors on the process in Actual State, a term for a painting cleansed of past restorations to reveal the original pigment, before it is revarnished and retouched by conservators. A pair of Flemish paintings from the

WHAT ARE YOU REALLY EATING?

WHAT TO DO THIS WEEK Kim Wheaton: “Five Points: Past, Present, Future” in Durham Under Development PHOTO COURTESY OF PLEIADES GALLERY

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NORTH CAROLINA MUSEUM OF ART, RALEIGH 10:30–11:30 a.m. and 1:30–3 p.m., free, www.ncartmuseum.org

SUNDAY, FEB. 21

DURHAM UNDER DEVELOPMENT As the city roils and shifts around Pleiades, the downtown gallery shouts back in Durham Under Development, an ongoing show (through March 6) with a number of events. Citing the incredible amount of money coursing through development projects on the Downtown Loop, Pleiades put out a call for original pieces that would help “think about and discuss how we want go to forward, rather than to presume development is linear and therefore that certain people have expertise, sway, authority, that we, as a community, do not.” In an exhibit juried by a group of artists, activists, and development experts, seventeen artists join the nine Pleiades artists-in-residence to respond to urban flux. We were struck by Kim Wheaton’s “Five Points: Past, Present, Future”

THE DURHAM HOTEL, DURHAM 7–9 p.m., free, www.pleiadesartdurham.com

SATURDAY, FEB. 20

DRE DAY

On “Alwayz Into Somethin’,” from N.W.A.’s 1991 album Niggaz4Life, a twenty-six-year-old Dr. Dre warned, “I gotta get paid, paid in a hurry/See, I got a habit if I’m not paid thoroughly/I start takin’/Makin’ sure my shit is steady bumpin’/A nigga always into somethin’.” Those lines proved prescient: Dre soon released the G-funk classic The Chronic; groomed Snoop Dogg into a Crip-walking icon; dropped the infallible follow-up 2001; catapulted Eminem, 50 Cent, The Game, and Kendrick Lamar to stardom; and got paid super thoroughly when Beats Electronics went to Apple for $3 billion. Last year’s long-awaited Compton, which coincided with the theatrical release of the N.W.A. biopic, Straight Outta Compton, revealed a reinvented and reinvigorated Dr. Dre, still steady bumpin’ a quarter-century later. Two days after Dre’s fiftyfirst birthday, Raleigh pays homage to the music legend who’s always been into something major. In case you’ve been smoking too much of that sticky icky, DJs A Minor, Forge, and Nixxed will help you remember what that “something” was. Also with performances by Tennis Rodman and Brass/Abs. —Eric Tullis

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WHAT ELSE SHOULD I DO?

A MATERIAL LEGACY AT THE NASHER MUSEUM OF ART (p. 44), MATT BRAUNGER AT MOTORCO (p. 45), DOUBLE BARREL BENEFIT AT KINGS (p. 41), NANCE AT SOUTHLAND BALLROOM (p. 31), PARTY ILLEGAL AT THE PINHOOK (p. 18), POP. 1280 AT SLIM’S (p. 32)

ILLUSTRATION BY CHRIS WILLIAMS

sixteenth century, one that has already been retouched and one waiting to be, will be on display. The latter will proceed to the state of the former before the eyes of museumgoers. We’re flagging the first day you can watch NCMA conservator Noelle Ocon at work, but you can catch her often through early July (see the museum’s website for the schedule). It’s a rare, educational exhibit that makes you think about what is worth saving—and about what we defy when we don’t let time inscribe its poetry on our works. —Brian Howe

(pictured here), which starkly illustrates the omnipotent view of time only attainable through a creative lens. After visiting the gallery for the Third Friday reception this week, head to the Durham Hotel on Sunday for this night of spoken-word poetry inspired by the show, hosted by Dasan Ahanu. There are also community discussions scheduled at Pleiades on Saturday, Feb. 27, at 6 p.m. and Saturday, March 5, at 1 p.m. —Brian Howe

indyweek.com INDYweek.com | 2.17.16 | 37

FR 2/19

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RIVER SHOW / ELLIS DYSON & THE SHAMBLES W/ BELLTOWN STRUTTERS SA 2/20 WKNC DOUBLE BARREL BENEFIT 13 DENIRO FARRAR, SKYBLEW, EARTHLY ($12/$15) FR 2/26 TIFT MERRITT PERFORMS 'BRAMBLE ROSE' ALEXANDRA SAUSERMONNIG($25) SA 2/27 WXYC 90S DANCE WE 3/2 MC CHRIS W/ NATHAN ANDERSON ($13/$15) TH 3/3 KURT VILE & THE OUT

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FR 5/6 STICKY FINGERS ($13/$15)

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SA 4/2 DAUGHTER W/ WILSEN SU 4/3 PROTOJE ($16/$19; ON SALE 2/19) TU 4/5 SEAN WATKINS ($12/$15) FR 4/8 MAGIC MAN & THE GRISWOLDS W/PANAMA WEDDING ( $20)

THEY MIGHT BE GIANTS WE 4/13 IRATION W/ HIRIE ($20) MO 4/18 THAO & THE GET DOWN STAY DOWN ($15/$17) WE 4/20 MURDER BY DEATH W/KEVIN DEVINE & THE

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FR 4/22 TRIBAL SEEDS W/ ANUHEA AND E.N. YOUNG ($17/$20) TU 4/26 HOUNDMOUTH ($18/$20) TH 4/28 POLICA W/ MOTHXR ($16/$18) SA 4/30 THE RESIDENTS PRESENT: SHADOWLAND ($30/$35)

TH 5/5 PARACHUTE W/ JON MCLAUGHLIN**

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SU 2/28

LUTHER DICKINSON & THE COOPERATORS @ THE ARTSCENTER

WE 6/15 OH WONDER**($15/$17) TU 11/22 PETER HOOK & THE LIGHT (PERFORMING "SUBSTANCE"/ BY JOY DIVISION AND NEW ORDER) ($25)

SU 3/6

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2/18 DRESSY BESSY AND PYLON REENACTMENT SOCIETY FEATURING VANESSA BRISCOE-HAY ($15/$18) 2/19: THE PINKERTON RAID, MATT PHILLIPS & THE PHILHARMONIC 2/20: SERATONES W/ THICK MODINE ($10) 2/21: HONEYHONEY W/ CICADA RHYTHM ($15) 2/25: MY THREE SONS W/ LEMON SPARKS ($8/ $10) 2/26 GRIFFIN HOUSE ($15/$18) 2/27 THE BLACK LILLIES W/ UNDERHILL ROSE ($14) 2/29: SON LITTLE 3/2: PETER CASE 3/4: BRETT HARRIS W/ SEAN THOMAS GERARD AND THE REAL OFFICIAL ($8/$10) 3/6: QUILT 3/9: ALL DOGS 3/11: PORCHES / ALEX G W/ YOUR FRIEND ($13/$15) 3/12: MAPLE STAVE / WAILIN STORMS / BRONZED CHORUS ($8) 3/13: TRIXIE WHITLEY ($12) 3/19 GROOVE FETISH W/ FONIX ($7/$10) 3/22: SLOTHRUST AND YUNG ($10/$12;) 4/3: KRIS ALLEN 4/5: CHON W/POLYPHIA AND STRAWBERRY GIRLS ($13/$16) 4/14: RUN RIVER NORTH W/THE LIGHTHOUSE AND THE WHALER ($12/$140

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4/15: ELEANOR FRIEDBERGER ($14/$16) 4/16: ERIC BACHMANN W/ ANDREW ST JAMES ($12/$15) 4/25: BOOGARINS ($10/$12) 4/29: KAWEHI ($13/$15) 5/6: MATTHEW LOGAN VASQUEZ ( OF DELTA SPIRIT) 6/4: JONATHAN BYRD ( $15/$18) ARTSCENTER (CARRBORO)

2/28 LUTHER DICKINSON & THE COLLABORATORS

W/ AMY LAVERE, WILL SEXTON ($20/$23)

5/5 GREG BROWN ($28/$30)

music 02.17–02.24 WED, FEB 17

BLUE NOTE GRILL: The Dagmar Bumpers; 8 p.m., free. The Herded Cats; 8 p.m. • THE PINHOOK: Just Jess, Blanko Basnet; 9 p.m., $5. • POUR HOUSE: Dan Baird and Homemade Sin, Maldora; 9 p.m., $12–$15. • THE RITZ: Breaking Benjamin, Starset; 8 p.m., $35.

THU, FEB 18 Agent Orange O.C. O.G.S Founding frontman Mike Palm still leads Agent Orange, his band of SoCal surf punks. After a decades-long drought of new material, the glory days are decidedly gone. Agent Orange is still living on Dick Dale covers and “Bloodstains” that made their mark more than three decades ago. In the Whale and Heavyweights open. —BCR [LOCAL 506, $13–$15/9 P.M.]

Big Head Todd & the Monsters BLUESThe perplexing thing ROCK about Big Head Todd and the Monsters is that the twin poles of their sound—crunchy nineties rock and rustic blues—still feel as far removed from each other as they did two decades ago. Whether it’s the fan

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4/12 INTO IT. OVER IT. AND TWIABP... W/ THE SIDEKICKS, PINEGROVE ($15/$17) 5/3 WILD BELLE

PINHOOK (DURHAM) 2/29 MUTUAL BENEFIT NC MUSEUM OF ART (RAL)

5/1 SNARKY PUPPY (ON SALE 2/23) 6/10 LAKE STREET DIVE (ON SALE 2/23) HAW RIVER BALLROOM

3/30-3/31 (TWO SHOWS!): DR DOG ($22/$25) 4/3 ANGEL OLSEN W/ THE TILLS ($17/$20) 4/9 PHIL COOK & THE GUITARHEELS 4/29 M WARD ($23/$25) 5/6 LITTLE STEVEN'S UNDERGROUND GARAGE TOUR FEATURING THE SONICS, THE WOGGLES, BARRENCE WHITFIELD & THE SAVAGES

favorite “Bittersweet” or the recent single “New World Arisin’,” Big Head Todd’s style remains a mishmash that the band’s considerable talent can’t quite reconcile. With Mike Doughty. —JL [THE RITZ, $25/7:30 P.M.]

Local Band Local Beer: Old Quarter, Eno Mountain Boys, Texoma ROOTS ‘N’ Raleigh’s Old Quarter REVERB offers country-rock slow burners soaked in reverb and spiked with psych. Ragged Hillsborough rock ‘n’ rollers Eno Mountain Boys wrap electrified twang with loose, fraternal harmonies. The sepia-toned sparseness of Texoma suggests a tumbleweed rolling across a field, though an occasional toe-tapping honky-tonk tune picks up the pace. —SG [THE POUR HOUSE, FREE/9:30 P.M.] ALSO ON THURSDAY BEYÙ CAFFÈ: Baron Tymas Trio; 7 p.m., free. • BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • CAROLINA THEATRE: TAO: Seventeen Samurai; 8 p.m., $27–$106. • CARRBORO CENTURY CENTER: Nancy Middleton; noon, free. • CAT’S CRADLE (BACK ROOM): Pylon Reenactment Society, Dressy Bessy; 8:30 p.m., $10–$12. See page 36. • THE CAVE: Drum N Bass Dance Party; 10 p.m., $5. • DEEP SOUTH: Sam Brown Seven, Lairs, Arise, Shady B; 9 p.m., $5.

WEDNESDAY, FEB. 17–SATURDAY, FEB. 20

• DURHAM MAIN LIBRARY: Squier Red and the Blues Band, Nakiyasoul; 7 p.m., free. • IRREGARDLESS: The Going Back Band; 6:30 p.m. • JOHNNY’S GONE FISHING: Stan Lewis Trio; 7 p.m., free. • LINCOLN THEATRE: The Machine; 8 p.m., $17–$25. • LORRAINE’S COFFEE HOUSE: Lorraine’s Coffee House Band; 7:30 p.m., $10. • NIGHTLIGHT: Molido, Mike Geary, Tegucigalpan, Chula; 9 p.m., $15. • THE PINHOOK: Trandle, Shirlette Ammons, Zoocrü, DJ Mic Check; 8:30 p.m., $5.

FRI, FEB 19 An Occasion for Balloons SLY GAZE Late last year, An Occasion for Balloons—the with-friends project of peripatetic Chapel Hill songwriter, crooner, and dreamer Nate Wagner—issued an eight-song, self-titled set. Floating between ambient instrumental drift, refracted college rock themes, and distortion-softened pop, the wondrous little cassette seemed to suspend listeners inside Wagner’s peculiar dream world, where beats and notes bent at the oddest angles. Released in an edition of only twenty-five, An Occasion suggested an idiosyncratic arranger, charmingly underselling his vision. With Band & the Beat and TLVS. —GC [THE CAVE, $5/9 P.M.]

CAROLINA JAZZ FESTIVAL

When you think of contemporary jazz in the Triangle, the first things that come to mind might be the long-swinging N.C. Central jazz program, Durham’s audacious new Art of Cool Festival, or perhaps young clubs specializing in the stuff, like The Shed or Beyù Caffè. But jazz remains a vital presence at UNC-Chapel Hill, too, which the thirty-ninth Carolina Jazz Festival hopes to showcase late this week. Between Wednesday, Feb. 17, and Saturday, Feb. 20, various UNC jazz ensembles—the jazz band, several jazz combos, the faculty jazz ensemble, Charanga Carolina—will workshop, rehearse, and perform with guests Mark Whitfield (guitar) and Nat Reeves (bass). Almost all of those segments are free. The festival also incorporates a regional arm of the Essentially Ellington festival, which features a cadre of high school students performing various Ellington charts. In case that doesn’t sate your big-band desires, Carolina Jazz Festival concludes Saturday night with a pricey performance by the Count Basie Orchestra, still trucking nearly thirty two years after its namesake’s death. Such so-called ghost bands are essentially cover acts for mid-century jazz greats; Basie, Ellington, Mingus, and Glenn Miller all survive now in a kind of liminal zombie state, their tunes played and replayed by constantly shifting groups. For this performance, the Basie band revisits one of its early undead triumphs, a 1987 Grammy-winning live album with vocalist Diane Schuur. That recording was all polish and sheen, a mix of hard-swinging blues and show-tune standards with tight arrangements. Schuur’s voice was full and rich, transcending the stereotypical Ella, Billie, and Sarah molds with idiosyncratic twists. It will be interesting to see how such chemistry holds up three decades later. Acts like this depend on it. —Dan Ruccia VARIOUS VENUES, CHAPEL HILL Free–$94, www.music.unc.edu

Dirty Bourbon River

ear, An Show or project of SCREWY New Orleans’ Dirty gwriter, CIRCUS Bourbon River Show Wagner—is- combines part performance art, a dollop led set. of wild jazz, a blast of brass band instrumental bluster, and a hint of ska thrown in. It’s k themes, and all brought to a boil by the fiery, Louis he wondrous Prima-style vocals of frontman Noah uspend Adams. With Ellis Dyson & the peculiar Shambles and the Bulltown Strutters and notes —GB [CATS CRADLE, Released in $10–$12/8 P.M.] ive, An osyncratic rselling his Gray Young, GNØER eat and TLVS. GRAND Gray Young makes it to 9 P.M.] DRAMA too few stages of late;

ight be the perhaps resence ate this he jazz ehearse, e n festival,

day night years century l zombie e, the m with lues and nding the to see ia

its terse, tense hybrid of post-rock melodrama and radio-rock muscle seems to linger in a state of quasi-hibernation. (Imagine a stack of Explosions in the Sky and U2 records, melting on a space heater.) Hopefully, this set surges with a suppressed sort of energy. GNØER is local keyboardrock favorites Goner reinvented as an anthemic electronic act. The trio aims to—and often succeeds in—turning Scott Phillips’ arching melodies into digital vistas, like M83 twisting through a tunnel of love. —GC [SLIM’S, $5/9 P.M.]

Invincible: A Glorious Tribute to Michael Jackson KING FOR With continued A NIGHT advances in the hologram technology that allowed a beyond-the-grave Tupac to perform at Coachella 2012, it may one day seem inconceivable that we once watched real people perform the music of the deceased. In the meantime, Invincible features a whole team of (living) MJs taking turns sliding and singing their way through the late performer’s catalog, no holograms needed. —RC [MEMORIAL AUDITORIUM, $25–$105, 8 P.M.]

Kooley High RAL’S RAP A locally revered rap PIONEERS group that grew out of

an N.C. State student hip-hop organization, Kooley High has accomplished much during its decade. Still, the impressive Heights EP is K-High’s first-ever vinyl release. For hip-hop heads as big as these, that’s cause for celebration. —RC [KINGS, $13–$15, 9 P.M.]

fr 2/19

UNC VS. DUKE ON THE BIG SCREEN 9pm FREE AGENT ORANGE IN THE WHALE / HEAVYWEIGHTS 9pm $13/$15

CAMPFIRES AND CONSTELLATIONS SILVER DOLLAR SWITCHBLADE SPLIT 7” RELEASE SHOW AMIGO 9pm $7/$10

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Igor Levit PIANO, Igor Levit is nothing if BOLDLY not daring. His first recordings include late Beethoven, the complete Bach partitas, and massive variation sets by Bach, Beethoven, and Rzewski. This program presents a few flashes of that audacity with Bach’s labyrinthine fourth partita and Beethoven’s penultimate sonata. He adds Schubert’s episodic Moments Musicaux and Prokofiev’s seventh sonata, which mourns the murder of a friend by Stalin’s secret police. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$34/8 P.M.]

Nellie McKay STAGING Nellie McKay has tried A STAR her hand at Broadway shows and stand-up, even earning a Theatre World Award for the former. But McKay’s greatest success has come in her music career, where adult alternative serves as a musical framework foundation for the satirical singer-songwriter. She dabbles in jazz, reggae, and rap with her originals while paying tribute to Doris Day and sixties

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TH 2/18

FR 2/19 COURTESY OF CAROLINA PERFORMING ARTS

Chimes at Midnight

SUNDAY Chimes at Midnight is SERVICE the sedated solo outlet of Raleigh rock musician Cyrus Atkins. A cast of early singles prompts the lone, late-night missives of some hypothetically dejected Britpop bandleader, coloring a country framework of broken images and forlorn abstraction with psychedelic touches. PINHOOK: S.E. Ward, meanwhile, sings and plays , Zoocrü, DJ with the gracefulness of Nick Drake or Vashti Bunyan, a hint of anger lingering just beneath the surface of her gorgeous tunes. And Eddie Pellino, who once led the angular Raleigh aces Utah!, opens as Sir Edmund II. —GC [NEPTUNES PARLOUR, $5/9 P.M.]

VAL

th 2/18

sa 2/20

Count Basie Orchestra PHOTO

ARY: Squier akiyasoul; LESS: 0 p.m. • NG: Stan INCOLN 8 p.m., COFFEE House GHTLIGHT: igalpan,

we 2/17

CONTRIBUTORS: Jim Allen (JA), Grant Britt (GB), Ryan Cocca (RC), Grayson Haver Currin (GC), Spencer Griffith (SG), Corbie Hill (CH), Allison Hussey (AH), David Klein (DK), Jordan Lawrence (JL), Karlie Justus Marlowe (KM), Bryan C. Reed (BCR), Dan Ruccia (DR), David Ford Smith (DS), Chris Vitiello (CV), Eric Tullis (ET), Patrick Wall (PW)

FR 2/19

PROSE OF KHAN / ECHO THE AFTERMATH NEPTUNES COMEDY OPEN MIC LOVE DAY EDITION! POST-VALEMPTIMES! THE DANGLING LOAFER FEATURING

BRIAN MALOW 7PM KOOLEY HIGH

RECORD RELEASE PARTY! 9:30PM

SA 2/20

DRE DAY WITH DJS:

SU 2/21

A MINOR / FORGE / NIXXED / SHWNBTG + MORE LIVE AT NEPTUNES

MO 2/22

SIR EDMUND II / S.E. WARD LIVE AT NEPTUNES

CHIMES AT MIDNIGHT

TU 2/23

THE ATOMIC RHYTHM ALL-STARS A/V GEEKS PRESENT: VD – VERY DRAMATIC!

WE 2/24

LIVE AT NEPTUNES

TH 2/25

WEIRD PENNIES (OF RALEIGH)

ESSEX / MURO / ZEPHYRANTHES BELL WITCH / WREKMEISTER HARMONIES

THE BACKSLIDERS / GREAT GOOD FINE OK / WHITE REAPER SOON / GUTTERMOUTH / DOWNTOWN BOY DIET CIG / THE SNAILS

INDYweek.com | 2.17.16 | 39

919.821.1120 • 224 S. Blount St WE 2/17 DAN BAIRD & HOMEMADE SIN / MALDORA LOCAL BAND LOCAL BEER OLD QUARTER / TEXOMA / ENO MOUNTAIN BOYS

TH 2/18

BUBONIK FUNK

FR 2/19 SA 2/20 SU 2/21 MO 2/22 TU 2/23 WE 2/24 TH 2/25

SA 2/27 MO 2/29

FR 3/4

SA 3/5 SU 3/6 FR 3/11

DRUNK ON THE REGS

LOW-KEY LOCALS / DJ SPCLGST FREE THE BOYS FREE BIG SAM’S FUNKY NATION / CHIT NASTY BAND LOCAL BAND LOCAL BEER

FIRST PERSONS

FR 2/26

WE 3/2

ELEPHANT WRECKING BALL / JOY ON FIRE LEEWARD FATE / FLIMSY / AUTUMN TO MAY PRIMITIVE WAYS PRESENTS: WARBRINGER EXMORTUS / SUPPRESSIVE FIRE / GORBASH

BEAUTY WORLD / TEARDROP CANYON FREE SIGNAL FIRE / ELEPHANT CONVOY CARAMEL CITY FEATURING KING HEATHER VICTORIA / KHRYSI MOTORBILLY / JITTERY JACK FREE TURKUAZ / RISSI PALMER FOOTHILLS FREE FIRST FRIDAY OUTSIDE SOUL / LYRIC / BAKED GOODS THE PHOTOGRAPHY OF WWREAVES FREE CONSIDER THE SOURCE W/ MARBIN WAYNE “THE TRAIN” HANCOCK/ JOHN HOWIE JR. AND THE ROSEWOOD BLUFF TONY DIO’S ANNUAL BIRTHDAY BASH LEXX LUTHER / WIDOW / FINAL SIGN

facebook.com/thepourhousemusichall @ThePourHouse

thepourhousemusichall.com Seeking Duke cardiology patients to participate in an 8-week study on medication compliance using digital tools to track progress. You may be eligible for this research study if you: • are over 18 years old • have a personal iOS or Android device • are currently prescribed and taking heart medication, one or two times per day Participation includes: • Coming to our office to enroll in the study and take a survey • Taking part in brief surveys daily and weekly during the study on your mobile device for 6 weeks • Coming back to our office to take one final survey and complete the study You will be compensated for your study participation. To sign up, email BEresearch@duke.edu or call 919-681-9521 Protocol # Pro00064774 40 | 2.17.16 | INDYweek.com

BOOKER T. JONES SA 2/27 JEANNE JOLLY 3/4- HAIRSPRAY 6 FR 2/26

PRESENTED BY COMPANY CAROLINA

JOSH LOZOFF: LIFE IS MAGIC WE TRIANGLE JAZZ 3/23 ORCHESTRA SA SOUTH CAROLINA 3/26 BROADCASTERS SONGS FROM THE CIRCLE 5 SA REBIRTH BRASS 4/2 BAND SA 4/9 THE MONTI SA 3/19

FR 4/1

CELEBRATION OF NC SONGWRITING FEATURING:

CARRIE MARSHALL SA CRYSTAL BRIGHT 4/23 DEAN DRIVER NANCY MIDDLETON KIRK RIDGE FR TANNAHILL 4/29 WEAVERS SU BREAD & PUPPET 5/1 THEATER TIM LEE: SA 5/7 SCIENTIST TURNED COMEDIAN Find out More at

www.ArtsCenterLive.org 300-G East Main St. Carrboro, NC Find us on Social Media

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rock, pop, and folk through covers. Durham-based anti-folk favorite and activist Charles Latham opens. —SG [MOTORCO, $15–$18/8 P.M.]

Mother’s Finest FUNK If Mother’s Finest ROCK sounds familiar, it might be because, back when you had hair, you saw them open for Aerosmith, or maybe The Nuge. Formed the year the Beatles broke up, this Atlanta outfit toured with everybody and earned a reputation for blowing away headliners. Members have changed, but the funk-rock dynamism remains. With The Soul Psychedelique. —DK [LINCOLN THEATRE, $20–$30/8 P.M.]

N.C. Symphony with Johnny Mathis GET “When you’re making MISTY out, which do you prefer, Sinatra or Mathis?” asks the sports geek in Barry Levinson’s Diner, attesting to the hugeness of Mathis in late-fifties America. Possessed of a gossamer, almost ululating vibrato, Mathis is best known for mellow hits like “Chances Are.” He’s worked in a host of styles, not all of them strictly easy listening. Still, the once and future make-out king won’t mind delivering romantic hits to the faithful, especially to the strains of the state’s symphony. —DK [MEYMANDI CONCERT HALL, $40–$105/8 P.M.]

SoundCloud URL exchange. —DS [NIGHTLIGHT, $7/9 P.M.] ALSO ON FRIDAY BEYÙ CAFFÈ: Julia Nixon; 8 & 10 p.m., $10. • BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. Individually Twisted; 9 p.m., $6. • CAROLINA THEATRE: Wiser A Cappella Jam; 7 p.m., $10–$12. • CARY ARTS CENTER: Cary Town Band: For All the Seasons; 7:30 p.m. CITY LIMITS SALOON: Kasey Tyndall, Chip Perry; 8 p.m., $8–$13. • DEEP SOUTH: Bobby Bryson & The Company, Born Again Heathens, Lodge & Wilson, Eric Scholz; 9 p.m., $7. • FLYLEAF BOOKS: Skylar Gudasz; 6 p.m., free. • THE KRAKEN: The Whiskey Honeys, High Bushy Tails; 9 p.m. • LOCAL 506: The Collaboration; 4:30 p.m., free. Campfires and Constellations, Silver Dollar Switchblade, Amigo; 9 p.m., $7–$10. • LORRAINE’S COFFEE HOUSE: Lorraine Jordan and Carolina Road; 7:30 p.m., $10. • THE MAYWOOD: Brother Grey, SkyCresT, Chaos by Candlelight, Nowhere’s Home; 9 p.m., $10–$12. • PITTSBORO ROADHOUSE: Hip Pocket; 8 p.m., $15. • POUR HOUSE: Bubonik Funk, Elephant Wrecking Ball, Joy on Fire; 9 p.m., $7–$10. • THE RITZ: Dark Star Orchestra; 8 p.m., $23. • SOUTHLAND BALLROOM: Nance; 8 p.m., $10–$12. See page 31. • SPECTRE ARTS: The Wigg Report, Knurr & Spell; 6 p.m.

SAT, FEB 20

The Pinkerton Raid

Black Diamond Ball

OTHER Even Jonas couldn’t stop FOLKS’ $$ The Pinkerton Raid from crowdfunding its third record; the word-and-texture-loving Durham folk-pop storytellers weathered a storm-related postponement to its Kickstarter kickoff show. Still, tonight the band celebrates the conclusion of a successful campaign with friends Matt Phillips & The Philharmonic, Chocolate Suede, and Sinners & Saints. —SG [CAT’S CRADLE BACK ROOM, $8–$10/8 P.M.]

MEDIA The Vaudevillian Revue MIXER describes its work as “one part vaudeville debauchery, one part old Americana circus sideshow with some jazz, some burlesque, some cabaret, some slapstick.” You’ll get all that tonight with The Black Diamond Ball, as burlesque performances, comedy, and more commingle with music from two divergent locals—Chit Nasty, who specializes in rock ’n’ soul swagger, and Curtis Elller, whose ecstatic mix of ragtime and old-time aligns with the presenters’ ethos. —JL [MOTORCO, $12/10 P.M.]

Trash/Supply BROKEN The three producers LINKS tapped for this Trash/ Supply gig—Zoomo, Fugo, and Saint James—play an Internet-savvy goulash of styles. They hit on ironic sample fuckery, future funk, and billowing Clams Casino-indebted mood music. Come for the music; stay for the

Indonesian gamelan music, Debussy’s lone string quartet is an early mission statement. It points outward from Romanticism toward something else. Zhou Long’s Poems from Tang draws on eight-century Chinese poetry and musical language. James Nyoraku Schlefer, director of Kyo-Sin-An Arts, puts the string quartet in dialogue with the Japanese Sankyoku. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$25, 8 P.M.]

Disco Sweat NIGHT Nightlight knows how FEVER to throw a party, and its monthly Disco Sweat shindigs are no exception. Arrive ready to dance yourself clean to fabulous disco deep cuts, but leave that Afro wig at home and keep your hands to yourself. No exceptions there, either. —AH [NIGHTLIGHT, $5–$8/9 P.M.]

Malcolm Holcombe PHILOSO- Malcolm Holcombe FOLK washed dishes in Nashville before signing with Geffen for a shelved record. Moving back to his hometown of Swannanoa proved the boost his career needed. Fourteen albums later, he’s still delivering brilliantly crusty folk. Swamp legend Tony Joe White offered an assist with guitar on his latest, Another Black Hole. Holcombe says his recipe for recording success is “try not to put too many lines of bullshit in there.” Well done, then. —GB [MOTORCO, $13–$15/3:30 P.M.]

Johnny Cash Birthday Bash ORIGINAL The Man in Black would OUTLAW have turned eighty-three February 20; for anyone missing his presence, this tribute might do the trick. The Johnny Folsom 4’s homage to Johnny Cash has become an annual tradition around here, and if you can’t bring Cash back to sing those country classics himself, you might as well have somebody doing it who’s well versed in the art. —JA [HAW RIVER BALLROOM, $12–$15/8 P.M.]

Ciompi Quartet featuring Kyo-ShinAn Arts

The Kneads, Stray Owls

QUARTET For the most EAST adventurous program of its 2015–16 season, the Ciompi Quartet turns to Asia. Inspired in part by

QUASIThis show combines LOCALS two cool, different groups from just west of the Triangle. Greensboro’s infectious The Kneads

11 7 W MAIN STREET • DURHAM

, Debussy’s careen and mumble with enough rly mission passion to stand out among today’s many indie rock revivalists. Mebane’s rd from ething else. Stray Owls dissolve patient acoustic ang draws on sounds in colorful distortion, fashioning songs that are both psychedelic and try and intimate. —JL Nyoraku n-An Arts, [DUKE COFFEEHOUSE, $5/9 P.M.] ialogue with

—DR

DITORIUM,

Microwaves

ROCK On its fifth album, SPASMS Regurgitant Phenomena, the Pittsburgh trio Microwaves fills eleven tracks with knows how convulsing, complicated noise rock. party, and its Microwaves inject the cacophony with digs are no bare-wire jolts of post-punk and dance deadpan no-wave glances; the band disco deep twists and turns with prog-like ig at home ambition, cutting at odd angles like urself. No math-metal mutants. Like Daughters or —AH The Austerity Program, Microwaves P.M.] puts a lot of deliberation into its squalling craft. With Beneath the Monolith and Witch Tit. —BCR ombe [SLIM’S, $5/9 P.M.]

olcombe shes in Modena ith Geffen for back to his PRO EDGE Raleigh’s Modena proved the returns after a ourteen quasi-hibernation that included lineup ering changes, work on a forthcoming EP, and mp legend various side gigs. But if 2013’s Leverage assist with is still any indication, Modena’s big-tent er Black Hole. rock ambitions haven’t waned. The or recording band’s big riffs and melodic (and oo many lines ever-so-slightly gruff) vocals recall one, then. modern rock hitmakers like Hoobastank. With Something Clever, A Course of Action, The Gray, and Break the Skyline. —BCR [SOUTHLAND BALLROOM, $10–$12/8 P.M.]

Seratones

n Black would RAISED AJ Haynes powers the d for anyone RAFTERS relatively new tribute might Shreveport, Louisiana, quartet Seratones, which just signed a olsom 4’s as become an three-record deal with Fat Possum. re, and if you Haynes grew up singing in the Baptist church; she can belt like Merry Clayton ng those ou might as or jazz it up like Minnie Riperton. Her g it who’s well bandmates serve up soulful, sinewy riffs HAW RIVER that invite the shaking of asses. With Thick Modine. —DK [CAT’S CRADLE P.M.] BACK ROOM, $10–$12/9 P.M.]

Stray

WKNC Double Barrel Benefit

combines BENEFIT Now in its thirteenth different year, the Double Barrel he Triangle. BARS e Kneads Benefit is radio station WKNC-FM’s way

WE 2/17

of giving back to local music fans while receiving financial support from them at the same time. The event accounts for almost one-sixth of the station’s yearly income. The Cat’s Cradle leg showcases emcees Deniro Farrar, SkyBlew, and Professor Toon, which makes sense for a station that has long made great hip-hop a programming mainstay. K97.5 may have recently won back some local support with its reinvestment in #919Radio, but underground and unsigned hip-hop doesn’t need to be brought back to 88.1—it never left. Delightful electronic duo Earthly adds the beats without the bars. —RC [CAT’S CRADLE, $12–$15/8 P.M.]

Mathis; 8 p.m., $75–$105. See Feb. 19 listing. • THE PINHOOK: Party Illegal; 10 p.m., $5–$8. See page 18. • POUR HOUSE: Leeward Fate, Flimsy, Autumn to May; 9 p.m., $6–$8. • THE RITZ: Slippery When Wet; 9 p.m., $10. • SCHOOLKIDS RECORDS: Happy Abandon 7 p.m., free. • SHARP NINE GALLERY: Virginia Schenck Quartet; 8 p.m., $10–$15. • UNC’S MEMORIAL HALL: The Count Basie Orchestra; 8 p.m., $10–$94. See box, page 38.

Deaf Scene

2.22

Yamato—The Drummers of Japan

BIG Baltimore instrumentalSOUNDS ists Deaf Scene fuse post-rock and prog with a loop-heavy approach to composition. The results are densely layered and dynamic. Equal parts ambient and propulsive, the band’s instrumentals feel cinematic without spreading into droning vistas. With Wilmington art pop trio Youth League, Durham prog wizards Absent Boundaries and Greenville pop punks FS. —BCR [DEEP SOUTH, $5–$8/9 P.M.]

2.24

KUNG FU A discipline woven DRUMS deeply into national culture, taiko drums date back to ancient Japan. One current incarnation of taiko is Yamato, an athletic drumming troupe with Vegas theatricality. Though the drummers grimace and fling themselves about like a kung fu movie parody, they have the chops to deliver a visceral pleasure through all the wincing and smoke machines. This is Riverdance with big Japanese drums. —CV [NCSU’S STEWART THEATRE $34–$40/8 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: The Lionel Lyles Quintet; 8 & 10 p.m., $8. • BLUE NOTE GRILL: Hickory Switch; 8 p.m., $8. • CAROLINA THEATRE: ICCA South Quarterfinal Varsity Vocals; 8 p.m., $27. • CARY ARTS CENTER: Presidio Brass: Sounds of the Cinema; 7:30 p.m., $24–$26. • THE CAVE: Sarah Shook & the Disarmers, Wahyas, Lost Dog Street Band; 9 p.m., $5. See page 36. • CITY LIMITS SALOON: Jon Langston; 8 p.m., $10. • DEEP SOUTH: The Upward Dogs, Funk Sandwich, Dirty Dub, Zen Groove Arkest; 9 p.m., $5. • KINGS: Dre Day; 10 p.m., $5–$7. See page 37. • THE KRAKEN: Handsome Al & The Lookers with Emma Davis; 8 p.m. • LINCOLN THEATRE: Never Shout Never, Metro Station, Jule Vera, Waterparks; 6:30 p.m., $20. See box, page 42. • LOCAL 506: Vinyl Theatre, Finish Ticket, Irontom; 7 p.m., $16. • LORRAINE’S COFFEE HOUSE: The Edgar Loudermilk Band featuring Jeff Autry; 7:30 p.m., $10. • THE MAYWOOD: Hub City Stompers, Corporate Fandango, Go Benji Go; 9:30 p.m., $8. • MEYMANDI CONCERT HALL: N.C. Symphony with Johnny

SUN, FEB 21

WE 2.24

JUAN WAUTERS 2.17 2.18 2.19 2.20 2.23

2.25 2.26 2.27 2.28

TH 2/18 FR 2/19 SA 2/20 SU 2/21

THE DAGMAR BUMPERS CAROLINA LIGHTNIN’ THE DUKE STREET DOGS INDIVIDUALLY TWISTED HICKORY SWITCH KAMRA THOMAS

8PM 7PM 6-8PM 9PM $6 8PM $8 4-7PM

LIVE MUSIC • OPEN TUESDAY—SUNDAY THEBLUENOTEGRILL.COM 709 WAHSINGTON STREET • DURHAM

JUST JESS / BLANKO BASNET MOOG AND ART OF COOL PRESENTS: OFF THE HOOK A BENEFIT CONCERT FOR GRNC SOUL FUNK DISCO DANCE PARTY PARTY ILLEGAL MONDAY NIGHT SHOWCASE TUE NIGHT TRIVIA: WIN $50 BAR TAB or TIX JUAN WAUTERS JOE JACK TALCUM (OF THE DEAD MILKMEN) COOLZEY / D&D SLUGGERS DREAMING OF THE 90’S DANCE PARTY MAPLE STAVE HORIZONTAL HOLD / BAD FRIENDS ANONYMOUS JONES RECORD RELEASE PARTY! COMING SOON:

SUNFLOWER BEAN • PRINCE RAMA • PINKWASH NAP EYES • CREEPOID • CHRIS PUREKA • TACOCAT

Honeyhoney RURAL LA The white-hot Dave Cobb—whose magic touch lit up brilliant recent releases from Sturgill Simpson, Chris Stapleton, and Jason Isbell—also produced HoneyHoney’s six-month-old 3. Cobb’s signature Nashville grit becomes the duo of Los Angelenos Suzanne Santo and Ben Jaffe, adding toughness to Santo’s rocker impression of Gillian Welch and Jaffe’s Americana-ish accompaniment. There’s a bit more soul now, with lyrics like “You know I’m in hot water/If I’m my father’s daughter” catching even as they cut. —KM [CAT’S CRADLE BACK ROOM, $15/8 P.M.]

Kelly Holland Memorial Show NOT FADE Less than a month after AWAY former Cry of Love leader Kelly Holland’s death in February 2014, his peers put together a tribute in honor of their fallen friend. Continuing the tradition for a third year, Hank Sinatra, Automatic Slim, Saint Luke’s Drifters, and Travi Moss make repeat appearances alongside Holland’s former act, Crush. The Bleeding Hearts and Jive Mother Mary join. —SG [LINCOLN THEATRE, $15/4:15 P.M.] INDYweek.com | 2.17.16 | 41

Ride Forth. With Suppressive Fire and Gorbash. —BCR [POUR HOUSE, $13–$15/8:30 P.M.]

PHOTO COURTESY OF PARADIGM TALENT AGENCY

ALSO ON SUNDAY

SATURDAY, FEB. 20

Pop music’s MySpace era was a disconcertingly loud blip populated by the aural equivalent of those gaudy, eye-popping Blingee GIFs. But that bygone moment’s Internet-empowered democratization gave artists who once might have slogged it out on the coffeehouse circuit an express ticket to stages like those of the Warped Tour. Take Christofer Drew, the main creative force behind Never Shout Never. In 2008, when he was eighteen, he released the EP Yippee, which leans on strident strumming, wellplaced la-la-las, and precisely enunciated vocals that are part Something Corporate, part musical-theater audition tape. His flair for the dramatic and self-lacerating lyrics proved catnip for the crowd watching the last gasp of MTV’s request-based video countdown, TRL. Viewers doggedly dialed in to place pierced, coiffed, and utterly pop-friendly acts like Metro Station, All Time Low, and, eventually, Never Shout Never on the airwaves. Drew’s collaborators have shifted over time, but Never Shout Never remains prominent enough to appear on Warped’s biggest stage. That tour is still a haven for “alternative” types of rock, an ever-expanding umbrella under which the hooky, pleading subgenre of power pop falls. This is good news for Drew, as the best moments of Black Cat, Never Shout Never’s seventh full-length, take those early la-las and blow them up and out. These songs are huge. The outcast anthem that opens Black Cat, “Hey! We OK!,” sports juicy keyboards and an irresistible melody, while the grandiose, piano-driven title track matches Drew’s theatricality with production that’s so over the top it induces giddiness. Drew’s passion means that tagging him “emo” isn’t entirely inaccurate, but his work during the last decade shows he’s grown up enough to grow out of several musical pigeonholes. —Maura Johnston LINCOLN THEATRE, RALEIGH 6:30 p.m., $20, www.lincolntheatre.com

DOWN IN David Ramirez’s THE DUST widescreen, wryly emotional Americana is quietly mesmerizing. Fables, his latest, is bedecked with all the hallmarks of contemporary alt-country—rhythmic shuffles, pedal-steel flickers, forlorn pianos. But Ramirez’s erudite tunes carry poignancy, road-worn wisdom, and keen wordplay. His eye for detail sets him apart in a crowded field of similarly simmering troubadours. —PW [LOCAL 506, $13–$15/8:30 P.M.] 42 | 2.17.16 | INDYweek.com

MON, FEB 22 Drunk on the Regs

NEVER SHOUT NEVER

David Ramirez

CAROLINA THEATRE: The Chamber Orchestra of the Triangle: The Magic of the Flute; 3 p.m., $25. • THE CAVE: The Tide Rose, Alex Mendenall, Ronnie Lee, Kyle Forman; 9 p.m., $5. • DUKE’S BALDWIN AUDITORIUM: Faculty Chamber Music Concert; 3 p.m., free. • GARNER PERFORMING ARTS CENTER: The Jones Family Singers; 4 p.m., $20. • LOCAL 506: 3@3: City Below, Ghosts of the Kodiak, Honey Magpie; 3 p.m., free. • PAGE-WALKER ARTS & HISTORY CENTER: Brian Reagin; 4 p.m., $16.

Kamara Thomas and the Night Drivers

Warbringer, Exmortus

FRINGE Formerly of the FOLK powerhouse trio Earl Greyhound, Kamara Thomas has taken a gentler turn with her singer-songwriter solo material. That’s not to say she’s lost any bite—rather, her Americanaleaning songs are warm, understated, and inviting. —AH [BLUE NOTE GRILL, FREE/4 P.M.]

BULLET Los Angeles thrash BELTS worshippers Warbringer and Exmortus make obvious complements—their affection for classic Bay Area thrash is audible in every note. Three years after releasing its latest LP, Warbringer IV: Empires Collapse, Warbringer wields its screaming, Slayer-praising thrash with a new lineup. Exmortus embraces more death metal heft on its January album,

SKATE Raleigh’s Drunk on the SCENE Regs delivers scuzzy rock, while rappers Lord Cannabi$ and Gnarley Nick trade slick bars as the new Triangle duo Low-Key Locals. DJ SPCLGST scratches and spins. —SG [THE POUR HOUSE, FREE/9 P.M.] ALSO ON MONDAY

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

SLIM’S: Pop. 1280, Black Zinfandel; 9 p.m., $5. See page 32.

TUE, FEB 23

Christian Lopez Band and Brad Ray open. —SG [LINCOLN THEATRE, $18–$25/7:30 P.M.]

Doug Tuttle BREEZY Formerly of New BRO England psych band MMOSS, Doug Tuttle settles down on It Calls on Me, a sometimes enchanting nine-song set that bridges the California charms of the Byrds with the British majesty of Pentangle. The best songs deploy coruscant electric leads and lolling drum rolls, sounding a little like modern psych greats Dungen preparing for an afternoon nap. Laced with references to time, finally seeing, and taking breaks, these are transmissions from a romantic crisis, where the narrator has resolved to float past the worry. Essex//Muro and Stray Owls open. —GC [LOCAL 506, $8–$10/9 P.M.] ALSO ON TUESDAY CAROLINA THEATRE: Beth Hart; 8 p.m., $28–$79. • THE CAVE: The By Gods, Broken Tapes; 9 p.m., $5. • POUR HOUSE: The Boys; 9 p.m., free. • SHARP NINE GALLERY: North Carolina Jazz Repertory Orchestra; 8 p.m., $10–$20.

WED, FEB 24 Big Sam’s Funky Nation

Vandaveer FAUX Vandaveer leader Mark FOLK Charles Heidinger refers to himself as a “tunesmith” and to the rotating cast of players supporting him as a “host of hooligans.” You guessed it: Vandaveer makes aspirational folk—so neat, clean, and professional it should come with a Laurel Canyon ZIP code. The writing is drab and rote, loaded with lines so familiar you sort of want to stop Heidinger before he can retune the old six-string—because, yes, you have heard this one (and the other one) before. With Rebekah Todd and Casey Williams. —GC [LOCAL 506, $10–$12/9 P.M.]

Juan Wauters JANGLY In a post-Mac Demarco WEIRDO world, guys like Juan Wauters survive through personality. Best known as the singer of garage pop trio The Beets, Wauters’s earnest solo material has the laid-back nature often associated with his Captured Tracks labelmates, sans the languorous reverb and chiming guitars. Instead, we get awkward, playful narratives about his life, backed by campy acoustic guitar, handclaps, and the occasional sax. —DS [THE PINHOOK, $10/9 P.M.]

Weird Pennies (of Raleigh) INFANT Weird Pennies (of INDIE Raleigh)—and, yes, that’s the band’s full name—celebrates its first year of existence with this basement gig. A two-song single, released in November, is worthy of commendation, too. In both instances, the young quartet works the bustle of Modest Mouse and the chime of the Smiths into a righteous lather. Overclocked rhythms and vocals that echo anxiously crest in indie rock upheaval—hinting at chaos, but careful to step back from the brink. With Essex//Muro and Zephyranthes. —GC [NEPTUNES PARLOUR, $5/9:30 P.M.]

BALLBeth Hart is a blustery, BREAKIN’ blues-blasting heartbreaker who can slug it out with the best. To wit, she’s toured with Jeff Beck and Joe Bonamassa and recorded with Buddy Guy and Slash—that is, when she’s not busy pumping out her own fiery brand of soulful blues on guitar and piano. —GB [CAROLINA THEATRE, $23–$79/8 P.M.]

BIG EASY New Orleans trombone FUNK man Big Sam has played with the Dirty Dozen Brass Band, recorded with Elvis Costello and Allen Toussaint, and appeared on HBO’s Treme. But when he steps out in front of his Funky Nation and puts his lips to that horn, some seriously funky magic happens. If you’re in the room when that Crescent City voodoo starts happening, some of it just might rub off on you. The Chit Nasty Band opens. —JA [POUR HOUSE, $12–$15/9 P.M.]

Sister Hazel

Hackensaw Boys

ALSO ON WEDNESDAY

FIDDLIN’ For more than fifteen AROUND years, Virginia’s Hackensaw Boys have delivered folk tunes that tap traditional tones. The big, rollicking band sounds instantly familiar, something that works for them as much as it does against them. —AH [MOTORCO, $12–$15/8 P.M.]

BLUE NOTE GRILL: Clark Stern & Chuck Cotton; 8 p.m., free. • NIGHTLIGHT: 919Noise Showcase: Small Life Form, NJ9842; 8:30 p.m.

Beth Hart

SAVE THE Despite twenty-plus NINETIES years of Southern pop-rock, Sister Hazel is best remembered for the jangly 1997 hit “All For You,” which crossed Blues Traveler with Hootie & The Blowfish. Consider the just-released, Darius Rucker-featuring Lighter in the Dark a departure, as the band tests the country waters.

Member Admission Price

02.17–02.24

(Not Valid for Special Events, expires 01-17)

919-6-TEASER for directions and information

SATURDAY, FEB. 20

BEVERLY MCIVER: THE TIES THAT BIND Beverly McIver is a notable American painter, originally from Greensboro, whose legal guardianship of a sister with developmental disabilities was the subject of the HBO documentary Raising Renee. McIver exposes another thread of her complex family life in The Ties That Bind, a collection of oil portraits exploring her emerging relationship with her father. In a vivid artist’s statement, McIver describes her shock at age seventeen when her mother revealed she had a different father than she thought. She turned to see the man, Cardrew Davis, standing in the door, handing her a twenty-dollar bill. But McIver and Davis didn’t begin to seriously develop their bond until after her mother’s death in 2004. “I believe that I have fallen in love with my dad,” McIver writes now. In her vibrant, expressive portraits of Davis at various ages, perhaps you will, too. This opening reception also unveils a second show, featuring paintings by advanced Duke students, all women, who study with McIver, a studio arts professor at Duke. The Ties That Bind runs through April 9. —Brian Howe

BEVERLY MCIVER: “ARRANGEMENT IN BLUE AND BLACK NO. 1” PHOTO COURTESY OF CRAVEN ALLEN GALLERY

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CRAVEN ALLEN GALLERY, DURHAM 5–7 p.m., free, www.cravenallengallery.com

OPENING SPECIAL Aqueous: EVENT Watercolors by Lyudmila Tomova. Feb 19-Mar 6. Reception: Fri, Feb 19, 6-9 p.m. Golden Belt, Durham, www.goldenbeltarts.com. SPECIAL A Material Legacy: EVENT A key Nasher Musuem benefactor’s private collection in its first public viewing. Feb 18-June 26. Nasher Museum of Art, Durham, www. nasher.duke.edu. — Discussion: Marshall Price and Jessica Kay

Ruhle. Mon, Feb 22, 7 p.m. Southwest Regional Library, Durham, www. durhamcountylibrary.org. SPECIAL Lisa Bartell and EVENT Lamar Whidbee: One-night-only display of paintings. Fri, Feb 19, 6-9 p.m. Mercury Studio, Durham, www. mercurystudiodurham.com. SPECIAL Black Magic: Arts EVENT mixer with pop-up performances celebrating black artists. Sat, Feb 20, 8 p.m. The Carrack Modern Art, Durham, www.thecarrack.org.

SPECIAL Duke University EVENT Advanced Painting Students: Feb 20-Apr 9. Reception: Sat, Feb 20, 5-7 p.m. Craven Allen Gallery, Durham, www.cravenallengallery. com. See box, above. SPECIAL It’s All About The EVENT Story, Volume IV – Allan Gurganus: Artists respond to work by the Hillsborough author. Feb 22-Mar 20. Reception: Sun, Feb 28, 4-6 p.m. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com. INDYweek.com | 2.17.16 | 43

ONGOING A Thousand Mornings: Drawings and Paintings by Norma Hendrix: Thru Mar 6. FRANK Gallery, Chapel Hill, www.frankisart.com. African American Quilter Circle Show: Thru Mar 19. Hillsborough Arts Council Gallery, Hillsborough, www. hillsboroughartscouncil.org. Americana: Textile & History as Muse: Robert Otto Epstein, Margi Weir, David Curcio. Thru Mar 26. Artspace, Raleigh. 919821-2787, www.artspacenc.org. The Art of Love: Paintings by Laura and Trip Park. Thru Feb 29. ArtSource Fine Art, Raleigh, www.artsource-raleigh.com. Aunties: The Seven Summers of Alevtina and Ludmila: Photographs by Nadia Sablin. Thru Feb 28. Duke Center for Documentary Studies, Durham, www.cdsporch.org. Beach-Headz: North Carolina Marine Fossil Portraits: Rick Jackson. Thru Feb 28. Nature Art Gallery, Raleigh, www.naturalsciences.org. Black Holes: Drawings, letters, sculpture, readymades, collage, and more by Richard C. Thru Feb 27. Lump, Raleigh, www. teamlump.org. Black History: Artists’ Perspectives: Mixed-media work by Durham artists. Thru Feb 29. 44 | 2.17.16 | INDYweek.com

THURSDAY, FEB. 18

A MATERIAL LEGACY

The Nasher family’s legacy at Duke goes much deeper than the name on the museum. Founding donor Raymond Nasher, a Duke graduate, was a serious collector of modern art— especially sculpture—with his wife, Patsy. They donated art as well as millions of dollars to the museum. Since his death, his daughter and her husband, both board members, have carried on the family’s philanthropy. A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, which runs Feb. 18 through June 26, reveals their private collection. The exhibit, assembled by Nasher modern art curator Marshall Price, features pieces mainly from the last decade by major artists for whom materiality, whether they work in industrial metal or manufactured objects, is a high concern: Damien Hirst, Anish Kapoor, Sol LeWitt, Christian Marclay, and many others. It’s a view of the twenty-first century through the lens of a single collection, one with strong connections to the Nasher’s institutional vision, that has never been seen by the public. —Brian Howe THE NASHER MUSEUM OF ART, DURHAM 10 a.m.–9 p.m., free–$5, www.nasher.duke.edu Hayti Heritage Center, Durham, www.hayti.org. Boys Keep Swinging: Work by Louis St. Lewis inspired by David Bowie. Thru Feb 29. Crook’s Corner, Chapel Hill, www. crookscorner.com. Chisel and Forge: Works by Peter Oakley and Elizabeth Brim: Thru Mar 20. N.C. Museum of Art, Raleigh, www.ncartmuseum.org. Contemporary South: Multimedia work from artists across the South. Thru Feb 25. Visual Art Exchange, Raleigh, www.visualartexchange.org.

Janet Cooling: New paintings. Thru Feb 28. Horace Williams House, Chapel Hill, www. chapelhillpreservation.com. Dim Sum: Sculpture by Catherine Thornton. Thru Feb 28. Adam Cave Fine Art, Raleigh, www.adamcavefineart.com. Disappearing Frogs Project: Environmental art project raising awareness of the global decline of amphibian populations. Thru Mar 3. N.C.S.U. Crafts Center, Raleigh, www.ncsu.edu/crafts. SPECIAL Durham Under EVENT Development: Artists react to development in

Durham. Thru Mar 6. Pleiades Gallery, Durham, www. PleiadesArtDurham.com. See p. 36. Everyday Chaos: Re-Collaging the Surface: Carlyn WrightEakes, Richie Foster, Harriet Hoover, Saba Taj. Thru Mar 13. Arcana Bar and Lounge, Durham. Excavations from Nothingness: Harriet Hoover and Wendy Collin Sorin. Thru Mar 18. Miriam Preston Block Gallery, Raleigh, www.raleighnc.gov/arts. Failure of the American Dream: Installation based on the performative character of

DAMIEN HIRST: “BEAUTIFUL SUPERHEROES PAINTING (WITH BUTTERFLIES)” NASHER/HAEMISEGGER COLLECTION, © DAMIEN HIRST, PHOTO BY PRUDENCE CUMING ASSOCIATES

SPECIAL Alyssa EVENT Miserendino: Work based on family archive of photographic prints. Feb 22-26. Reception: Tues, Feb. 23, 6-8 p.m. UNC Hanes Art Center, Chapel Hill, www.art.unc.edu. SPECIAL Past Tense/Future EVENT Perfect: Seven artists using found objects. Feb 19-Mar 12. Reception: Fri, Feb 19, 6-9 p.m. The Scrap Exchange, Durham, www.scrapexchange.org. SPECIAL The Ties That Bind: EVENT Beverly McIver. Feb 20-Apr 9. Reception: Sat, Feb 20, 5-7 p.m. Craven Allen Gallery, Durham, www.cravenallengallery. com. See box, p. 43. Tilt-A-Whirl: Installation by Martha Clippinger and Rachel Goodwin. Feb 19-Mar 4. SPECTRE Arts, Durham, www.spectrearts.org.

Phil America. Thru May 8. CAM Raleigh, Raleigh, www. camraleigh.org. LAST Flow: N.C. artists CHANCE and poets inspired by nature and rivers. Thru Feb 21. Hillsborough Gallery of Arts, Hillsborough, www. hillsboroughgallery.com. SPECIAL Hackensack EVENT Dreaming: Nancy Cohen installation. Thru Mar 6. Artist Talk and Reception: Fri, Feb 19, 5 p.m. Power Plant Gallery, Durham, www. powerplantgallery.org. Hey America!: Eastern North Carolina and the Birth of Funk: Thru Feb 28. NC Museum of History, Raleigh, www. ncmuseumofhistory.org. Hidden Things Revealed: Paintings by Patricia Williams. Thru Feb 28. 311 Gallery & Studios, Raleigh, www.311westmartinstreet gallery.com. Home in a New Place: Photography by Katy Clune of an immigrant community in Morganton, N.C. Thru Apr 27. Center for the Study of the American South, Chapel Hill, www.uncsouth.org. How to Grow Fresh Air: Lucia Apollo Shaw. Thru Feb 28. The Qi Garden, Hillsborough, www.the-qi-garden.com. I Want Candy: Stacy Crabill. Thru Apr 14. Durham Convention Center, Durham, www.durhamconventioncenter.com. If I Were You and You Were Me: Polymer clay and found object sculptures by Elissa FarrowSavos. Thru Mar 17. Gallery C, Raleigh, www.galleryc.net. LAST Illusionary Worlds: CHANCE Kellie Bornhoft and Tedd Anderson. Thru Feb 20. Artspace, Raleigh, www. artspacenc.org. Inside Out: Work exploring relationships between architecture and psychology by Sandra Elliot. Thru Feb 29. Duke Louise Jones Brown Gallery, Durham, www.duke.edu. La Sombra y el Espiritu IV - The Work of Stefanie Jackson: Thru May 13. UNC Sonja Haynes Stone Center, 150 South Rd, Chapel Hill, www. sonjahaynesstonectr.unc.edu.

SPECIAL The Longitude and EVENT Latitude: Explorations of Land and Sea: Stephen Estrada and Tony Alderman. Thru Mar 12. Reception: Fri, Feb 19, 5-7 p.m. Durham Art Guild, Durham. www.durhamartguild.org. Made Especially for You by Willie Kay: One-of-a-kind dresses by the Raleigh designer. Thru Sep 5. N.C. Museum of History, Raleigh, www. ncmuseumofhistory.org. Mixed Media Journeys: Wax pencil drawings of circuses, carnivals, and travels by Benjamin Frey. Thru Mar 15. Little Art Gallery & Craft Collection, Raleigh, www. littleartgalleryandcraft.com. Morphology and the Biomorphic Impulse: Sculpture, paintings, and photography by Mark Elliot, Harriet Bellows, and Bill McAllister. Thru Mar 9. FRANK Gallery, Chapel Hill, www. frankisart.com. The New Galleries: A Collection Come to Light: Thru Sep 18. Nasher Museum of Art, Durham, www.nasher.duke.edu. New Year Show: Jeff Bell, Kiki Farish, Heather Gordon, Warren Hicks, Sallie White. Thru Mar 12. Light Art + Design, Chapel Hill, www.lightartdesign.com. North Carolina’s Favorite Son: Billy Graham and His Remarkable Journey of Faith: Thru Jul 10. N.C. Museum of History, Raleigh, www. ncmuseumofhistory.org. Original Oils and Watercolors: William C. Wright. Thru Feb 29. Gallery C, Raleigh, www.galleryc.net. Constance Pappalardo: Paintings. Thru Apr 30. Umstead Hotel & Spa, Cary, www.theumstead.com. Peculiar Light: Debra Wuliger. Thru Feb 28. Morning Times Gallery, Raleigh, www. morningtimes-raleigh.com. Public Displays: Thru Feb 28. Flanders Gallery, Raleigh, www.flandersartgallery.com. PULL: Thru Mar 27. Meredith College Weems Gallery, Raleigh, www.meredith.edu/the-arts. Reality of My Surroundings: The Contemporary Collection: Thru Feb 28. Nasher Museum of Art,

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

Robert Barnard: Paintings: Large scale works by the late UNC art professor. Thru Feb 29. Betty Ray McCain Gallery, Raleigh, www.dukeenergycenterraleigh.com. Scherr Inspiration: Jewelry by Mary Ann Scherr. Thru Feb 28. Roundabout Art Collective, Raleigh, www. roundaboutartcollective.com. LAST Side Roads: Folk Art CHANCE from Mike’s Art Truck: Folk art by nine selftaught artists. Thru Feb 26. Orange County Main Library, Hillsborough, www.co.orange. nc.us/library. Silver Screens: Work by Tama Hochbaum exploring her mother’s legacy. Thru Feb 28. Flanders Gallery, Raleigh, www.flandersartgallery.com. Simple Ways: Folk Art by Leonard Jones: House paint on scrap metal. Thru Mar 17. Alexander Dickson House, Hillsborough, www. historichillsborough.org. Small Tapestry International: Works from the American Tapestry Alliance. Thru Mar 5. Artspace, Raleigh, www. artspacenc.org. South Side: Photographs and writings by Jon Lowenstein. Thru Feb 27. Duke Center for Documentary Studies, Durham, www.cdsporch.org. Southern Comforter: Abstract images of a down comforter by Victoria Powers. Thru Mar 23. HagerSmith Design Gallery, Raleigh, www.hagersmith.com.

6. FRANK Gallery, Chapel Hill, www.frankisart.com. Treasures of Carolina: Stories from the State Archives: Public records and private archival materials from the state archives. Thru Jun 19. N.C. Museum of History, Raleigh, www.ncmuseumofhistory.org.

stage OPENING Abraham.In.Motion: When the Wolves Came In: Dance. $10–$38. Fri, Feb 19, 8 p.m. & Sat, Feb 20, 8 p.m. Reynolds Industries Theater, Durham, www.dukeperformances.duke. edu. Alvin Ailey American Dance Theater: Dance. $10–$89. Tue, Feb 23, 7:30 p.m. & Wed, Feb 24, 7:30 p.m. UNC Memorial Hall, Chapel Hill, www. carolinaperformingarts.org. Black History Month Step Show: Step dance. $5. Sat, Feb 20, 1 p.m.:East Millbrook Middle School, Raleigh. Brent Blakeney, Kelly Ryan, James Hodge: Stand-up comedy. $10. Thu, Feb 18, 7:30 p.m. Raleighwood Cinema Grill, Raleigh, www. raleighwoodmovies.com. David Cross: Stand-up comedy. 36–$72. Wed, Feb 24, 8 p.m. Carolina Theatre, Durham, www.carolinatheatre. org. The First Woman President: Staged reading. Sun, Feb 21, 3 p.m. The ArtsCenter, Carrboro, www.artscenterlive.org.

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

Hurt Village: Play. $10 suggested donation. Thru Feb 28. NCCU University Theater, Durham.

Texture Transformed: Jewelry by Mirinda Kossoff, paintings by Mary Stone Lamb. Thru Mar

Jacuzzi: Play. $25. Feb 20-Mar 5. Ward Theatre, Durham, www.wardtheatrecompany.com.

Drew Lynch: Stand-up comedy. $15–$31. Feb 18-Feb 20. Goodnights Comedy Club, Raleigh, www. goodnightscomedy.com. Mary Domingo: New play. Free. Fri, Feb 19, 8 p.m. & Sat, Feb 20, 8 p.m. UNC Swain Hall, Chapel Hill. Tarish “Jeghetto” Pipkins: Allages puppetry performance. Free. Sat, Feb 20, 5 p.m. Johnny’s Gone Fishing, Carrboro,

www.carrboro.com/jgf. Throw Me on the Burnpile and Light Me Up: Sorytelling by Lucy Alibar. $10–$25. Thu, Feb 18, 7:30 p.m. & Fri, Feb 19, 8 p.m. UNC Historic Playmakers Theatre, Chapel Hill, www. carolinaperformingarts.org. See p. 36. We Are Proud to Present...: Play presented by Playmakers. $15–$44. Feb 24-Mar 13. UNC Paul Green Theatre, Chapel Hill, www.playmakersrep.org.

THURSDAY, FEB. 18

MATT BRAUNGER If Will Ferrell were a single, middleaged stand-up comic instead of a married, middle-aged comedy megastar, he’d be Matt Braunger. Both have a bumbling, buffoonish whiteguy bluster, as if trying to appear cool and hip when it’s clear to everyone that they’re as square as they come. But while Ferrell has spent his career playing determined dumbasses, Braunger has been holding it down for the dumbasses who still don’t have their shit together. Last year, the Mad TV alum released his first Netflix special, Matt Braunger: Big Dumb Animal, riffing on being wifeless, childless, and pushing forty and still not having a handle on this whole life thing. Braunger also stars as the clueless protagonist of the new Comedy Central web series he created, White Flight. Basically a racially charged The Leftovers played for laughs, the show casts Braunger as an actor, Gary, one of the few white people left in America. (The rest have been teleported to Canada, “the New United States.”) On the show, Braunger may be all thumbs when it comes to bringing people of color together, but we’re fairly certain all middle-aged schmucks in one-bedroom apartments would follow the man into hell. —Craig D. Lindsey MOTORCO MUSIC HALL, DURHAM 9 p.m., $10–$15, www.motorcomusichall.com

MATT BRAUNGER PHOTO ROBYN VON SWANK

Durham, www.nasher.duke.edu. SPECIAL Regional Emerging EVENT Artists in Residence Exhibition: Kellie Bornhoft and Tedd Anderson. Thru Feb 26. Artist Talk: Thu, Feb 18, 6 p.m. Artspace, Raleigh, www.artspacenc.org.

ONGOING

Crossing Delancey: Play presented by the Cary Players. $18-$20. Thru Feb 21. The Cary Theater, Cary, www. caryplayers.org. The Lion King: Musical. $39– $109. Thru Mar 20. Durham Performing Arts Center, Durham, www.dpacnc.com. Love Letters: Play presented by Bare Theatre. $10–$18. Thru Feb. 28. Sonorous Road Productions, Raleigh, www. sonorousroad.com.

Little Theatre, Raleigh, www.raleighlittletheatre.org. See review, p. 34. Tuesdays with Morrie: Play. $14–$22. Thru Feb 21. St Francis of Assisi Catholic Church, Raleigh, www. sfaraleigh.org. The Underpants: Play by Steve Martin. Thru Feb 21. Theatre In The Park, Raleigh, www.theatreinthepark.com.

Sweeney Todd: Musical. $13–$27. Thru Feb 28. Raleigh

Waiting for Godot: Beckett play presented by Meredith Ensemble Players. $5–$10. Thru Feb 21. Meredith College Studio Theatre, Raleigh, www. meredith.edu.

page

Lindsay Starck: Novel Noah’s Wife. Thu, Feb 18, 3:30 p.m. Chapel Hill Public Library, Chapel Hill, www. chapelhillpubliclibrary.org.

READINGS & SIGNINGS Sadiq Ali: Benjamin E. Mays Institute: Educating Young Black Males. Sat, Feb 20, 3 p.m. South Regional Library, Durham, www. durhamcountylibrary.org. Katharine Ashe and Sarah MacLean: Wed, Feb 24, 7 p.m. Barnes & Noble, Cary, www. barnesandnoble.com. Melanie Benjamin: The Swans of Fifth Avenue. Wed, Feb 17, 7 p.m. Quail Ridge Books, Raleigh, www.quailridgebooks. com. — Thu, Feb 18, 4 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com. Ross Howell Jr.: Forsaken. Sun, Feb 21, 2 p.m. Quail Ridge Books, Raleigh, www. quailridgebooks.com. Kenneth Janken: The Wilmington Ten. Sun, Feb 21, 3 p.m. Durham Main Library, Durham, www. durhamcountylibrary.org. Nick Knardirelli: Crime novel Minnesota: Her Account; Her View. Thu, Feb 18, 7 p.m. Barnes & Noble, Cary, www.barnesandnoble.com.

LaMonda A. Sykes: More Than Words: My Life, My Thoughts, My Journey. Sat, Feb 20, 11 a.m. Ngozi Design Collective, Durham, www.ngozidesign.com.

LECTURES, ETC. My Journey of Rediscovery: Science Meets Spirituality: Jim Fisher. $10–$20. Fri, Feb 19, 7 p.m. Duke Center for Living, 2741 Erwin Road, Durham. PAL/FHI Mellon Faculty Seminar: “Melodrama in the Age of Realism,” with Matthew Buckley (Rutgers), Carolyn Williams (Rutgers), Sharon Aronofsky Weltman (Louisiana State). Sat, Feb 20, 10 a.m. Franklin Humanities Institute Garage, Smith Warehouse, Durham, www.fhi.duke.edu. The Monti Story Slam: Stories about pain. $12. Tue, Feb 23, 7:30 p.m. Motorco Music Hall, Durham, www.motorcomusic.com. A Night of Spoken Word Poetry: Durham Under Development: Hosted by Dasan Ahanu and curated by Aaron Mandel. Sun, Feb 21, 7 p.m. The Durham Hotel, Durham, www.thedurham.com. See p. 36.

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

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The World Inside Your Head 10:00 AM | Saturday, February 27th Duke University Reynolds Theater

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SATURDAY, FEB. 20

MAD MAX: FURY ROAD

I’d read all the think pieces and raves before I saw 2015’s Mad Max reboot, but I still wondered, “Could a film where corpulent mutants use lissome young women as baby farms really be feminist?” It turned out it really could, with an undeniably badass Charlize Theron leading a rebellion where the women seldom stray from being the heroes of their story. Meanwhile, Tom Hardy grunts and glares on the sidelines, doing some good work but never snapping into focus as the dude who singlehandedly saves the day. Beyond that refreshing change of pace for an action film, there is also Fury Road’s uncanny kinetic energy—bodies and giant, rigged-up vehicles zoom and collide in a sandstorm-smeared palette of red and orange. It hums like a Rothko painting, zings like a Warner Bros. cartoon. It’s a film that offers the rare pleasure of real, chaotic choreography in physical space, in an age of digital perfection without stakes. You can see it for free on Saturday afternoon in Chapel Hill’s “Movies @ the Library” series. —Brian Howe CHAPEL HILL PUBLIC LIBRARY, CHAPEL HILL 2:30 p.m., free, www.chapelhillpubliclibrary.org

screen SPECIAL SHOWINGS

BLACK GOLD: Wed, Feb 24, 7 p.m. Duke Griffith Theater, Bryan Center, Durham, www. duke.edu. JOURNALISM AT THE CROSSROADS: AMERICAS AND BEYOND: Short documentaries and discussion about journalism practices in conflict zones. Mon, Feb 22, 6 p.m. Duke John Hope Franklin Center, Durham, www.fhi.duke.edu. LADY IN THE DARK: $5–$7. Fri, Feb 19, 8 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

OPENING THE LADY IN THE VAN—Alan Bennett (Alex Jennings) makes an unexpected friend in the woman (Maggie Smith) who lives in a van in his driveway. Rated PG-13. RACE—Jesse Owens (Stephan James) fights racial prejudice as he sprints his way to the 1936 Olympics. Rated PG-13. RISEN—The Biblical tale of the

Resurrection is told through the eyes of nonbelieving Roman official Clavius (Joseph Fiennes) and assistant Lucius (Tom Felton). Rated PG-13.  SON OF SAUL—Rated R. See review, p. 35. THE WITCH—A rural New England family in the 1630s must reckon with terrifying forces of black magic and witchcraft. Rated R.

A L S O P L AY I N G See our reviews of these films at www.indyweek.com. ½ 45 YEARS—A lifetime of regret unravels between a comfortably married couple (Tom Courtenay and Charlotte Rampling) as their wedding anniversary arrives. Rated R.  ANOMALISA—This fable about consumer capitalism and the male ego is familiar ground for Charlie Kaufman, but the material is elevated by the singular stopmotion animation. Rated R. ½ BROOKLYN—The nostalgic melancholy of Colm Tóibín’s novel is preserved in this elegiac old-school immigrant’s tale. Rated PG-13.

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 ½ DEADPOOL—Marvel’s smartass semi-hero (Ryan Reynolds) revels in excesses of quips and gore. Rated R.  DIRTY GRANDPA—Robert De Niro chucks the remains of his reputation in this filthy, unfunny spring-break comedy. Rated R.  HAIL, CAESAR!— The Coen brothers offer a delightful satire of postwar Hollywood. Rated PG-13.  THE HATEFUL EIGHT—If Quentin Tarantino doesn’t jettison this kind of historical revenge fantasy, he will become as dated as his film stock. Rated R.  ½ THE REVENANT— Leo DiCaprio plays a historical fur trapper left for dead after a bear attack in the director of Birdman’s latest Oscar bait. Rated R.  ½ ROOM—Adapted from an acclaimed novel, this is a cathartic exploration of the traumas of the love between mother and child. Rated R.  STAR WARS: THE FORCE AWAKENS—J.J. Abrams successfully remixes Star Wars mythology for a new generation. Rated PG-13.

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The North Carolina Press Association has a great opportunity for a new executive director to lead our 143-yearold organization into the next phase of its history. Our ideal candidate will be able to manage the day-to day, plan and develop strategy, sell the organization’s benefits and services, work with the state legislature, and work closely with a talented staff. This is a hands-on job with giant rewards for the right person. For a list of job duties, or to send a resume for consideration, please email Pat Taylor, NCPA president, at pat@thepilot.com.(NCPA)

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rent/wake co. APARTMENT FOR RENT 1 bedroom, 1 bath efficiency apartment available on Boylan Ave. One block from Glenwood Ave, one block from Hillsborough Street. Glenwood South area. Rents for $750.00 which includes all utilities and basic cable. (No Smoking. No Pets) Please contact our management team at 919.828.3081.

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You think you’re doing a good deed by taking in a shelter dog, but it’s not altruism that comes to the fore at the facility. Sure, you’re doing the animal a major favor—bringing it in, saving it from death, surrounding it with central heating. Still, it’s like buying a used car. You’re going to kick the tires a bit, see which dog makes you feel better about you. Pinto, the one we’d liked online, was too hyper. The next one was aloof, not the cuddling type. And then we met a twoyear-old beagle, Clover. She flopped onto my son’s lap and lay there, looking up with limpid eyes that emanated adoration. We were sold. At first, though, she was timid and skittish, as if her previous owners had even made her afraid of her own food. We had this idea we’d keep her off the couch, but that was where she insisted on decamping. We relented. We wanted her to feel at home. Still, it took awhile for Clover to get her bearings. Sometimes she’d just stop in the middle of a walk and refuse to continue. We looked pretty silly carrying her home like a worn-out toddler. But character is destiny, and Clover is a beagle, and beagles like to run. Late one afternoon, along the wooded trails near UNC–Chapel Hill, she spotted rabbit movement ahead. She wriggled free of her state-of-the-art harness and was gone like a shot. After an hour of calling her name, my wife and son ran across a young couple walking their own dog. My wife told them we had lost our beagle and that she didn’t even have a collar on anymore. About half an hour later, my wife heard voices and then saw the young man, muddy and wet, clutching Clover. He’d seen her in the creek, jumped down, and caught her. My wife was on the verge of tears. He was her new hero. Every other time Clover’s gotten loose, some new hero has emerged. OK, so hero is a stretch, but these helpers restored, or at least confirmed, my sense that the world is populated by good, decent people. More often than not, they will hold onto your lost dog, call you up, and, in some cases, even deliver the dog into your arms. Things have been pretty quiet lately. Clover doesn’t like cold weather one bit, so she is back on the couch in front of the fake fire. But spring is approaching—time to run, I presume, time to meet some new neighbors. —David Klein Twitter: @DKleinandFall | 2.17.16 Book your| ad • CALL LesLie at 919-286-6642 50 INDYweek.com

ILLUSTRATION BY CHRIS WILLIAMS

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Do You Use Black C oho sh? If you are a woman living in the Raleigh-Durham-Chapel Hill area and take black cohosh for hot flashes, cramps or other symptoms, please join an important study on the health you cohosh are a woman livingbyinthethe Raleigh-Durham-Chapel Hill area and(NIEHS). effects ofIf black being conducted National Institute of Environmental Health Sciences take black cohosh for hot flashes, cramps, or other symptoms, please join What’s required? an important study on the health effects of black cohosh being conducted • Only one visit to donate a of blood sample • QualifiHealth ed participants will receive up to $50 by the National Institute Environmental Sciences (NIEHS). • Blood sample will be drawn at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina What’s Required? Who Can Participate? Only one visit women, to donate sample • Healthy aged a18blood years and older • Not pregnant or breastfeeding Volunteers compensated upthe to $50 For will morebeinformation about Black Cohosh Study, call: Blood sample will be drawn919-316-4976 at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina Lead Investigator: Stavros Garantziotis, M.D. Who Can Participate? National Institute of Environmental Healthy women, aged 18 years and older Health Sciences Research Triangle Park, North Carolina Not pregnant or breastfeeding

· · · · ·

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

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

Lead Researcher

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

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

If you are a man or woman, 18-55 years old, living in the RaleighDurham-Chapel Hill area, and smoke cigarettes or use an electronic nicotine delivery system (e-cigarette), please join an important study on smokers being conducted by the National Institute of Environmental Health Sciences (NIEHS). What’s Required? • One visit to donate blood, urine, and saliva samples • Samples will be collected at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina • Volunteers will be compensated up to $60 Who Can Participate? • Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) The definition of healthy for this study means that you feel well and can perform normal activities. If you have a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the condition is under control. For more information about this study, call 919-316-4976 Lead Researcher Stavros Garantziotis, M.D. • National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

30/10/2005

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MANUSCRIPT READER

The Sun, an independent, ad-free magazine, is looking for a part-time manuscript reader to evaluate fiction, nonfiction, and poetry submissions and determine their suitability for the magazine. If you live in the Chapel Hill area, are able to work 15 to 20 hours a week at home or in the office, and can make at least a two-year commitment, visit thesunmagazine. org for details. (No e-mails, phone calls, faxes, or surprise visits, please.)

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Weekly deadline 4pm Monday • classy@indyweek.com LEARN THE ART OF WEAVING

INTRO TO IMPROVISATION

COMING TO ASHEVILLE?

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