INDY Week 2.22.17 by Indy Week

The 18-Year-Old Who Owned Richard Burr, p. 6

raleigh 2|22|17

RICH ROOTS

Will Local Schools Protect Dreamers from Trump? p. 9

BY ALLISON HUSSEY, p.16

A Cactus of a Different Color, p.14

The folk genre is whiter than the tradition. Kaia Katerâ&#x20AC;&#x2122;s helping change that.

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WHAT WE LEARNED THIS WEEK | DURHAM VOL. 34, NO. 6

6 Roy Cooper’s HB 2 compromise won’t help the LGBTQ community, but it will help Republicans save face. 8 Orange County’s so-called Party Barn, technically a farm, has booked seventeen weddings this year. 9 If President Trump ends DACA, local universities might not help student Dreamers. 13 With its farm-to-table ethos, Old Havana Sandwich Shop takes the Cuban sandwich to the next level. 14 Steph Stewart and Mario Arnez’s debut release as Blue Cactus is forged in love, tempered by heartbreak, and decked out in spangles. 18 Nina Chanel Abney is an African American, a woman, and an artist, not an African-American woman artist. 21 Happily, the half-life of love remains a mystery at the end of Manbites Dog Theater’s Bright Half Life.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 10 Democracy in Crisis 13 Food 14 Music 18 Arts & Culture 22 What to Do This Week

Old Havana Sandwich Shop co-owner Elizabeth Turnbull preps for service at “The Lost Dishes of Cuba” dinner series.

24 Music Calendar

PHOTO BY ALEX BOERNER

29 Arts & Culture Calendar On the cover: Justin Tornow dances inside Heather Gordon’s installation in Echo. PHOTO BY MICHELLE LOTKER

INDYweek.com | 2.22.17 | 3

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Raleigh Durham | Chapel Hill

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backtalk

Tu Quoque On Friday afternoon, the INDY published an open letter signed by 2,943 Duke alumni—as of this writing, that number exceeds 3,200— to fellow alum Stephen Miller, now President Trump’s senior adviser and a force behind such controversial policies as the Muslim ban. In it, the alumni wonder how, given his diverse, multicultural experience at Duke, he can work in an administration like Trump’s, which, in their view, degrades the contributions of women, minorities, LGBTQ individuals, and the free press. “We, the undersigned members of Duke’s Class of 2007 and beyond, see nothing in your actions that furthers the values of intellectual honesty, tolerance, diversity, and respect that we seek to promote in the world,” they wrote. It was quite the tongue-lashing. Commenter Kayt, however, sees it as yet another example of liberals not respecting the very freespeech rights they claim to cherish. “It has become overwhelmingly clear, not in this instance alone, that our colleges and universities are narrow-minded and judgmental,” she writes. “Opinions that are not in line with their liberal mindsets are ridiculed and labeled as prejudiced or intolerant. Individuals whose politics are not in line with their current belief system are called Hitler or dangerous. Here’s some advice from an American woman of average intelligence who lives in the real world. The reason that Donald Trump was elected is that America is tired of you: we are tired of you advocating the taking away of our rights and freedoms— the very foundations that our country was founded on—under the guise of tolerance and diversity. We are tired of politicians, the press, the wealthy, the ‘intellectually elite’ thinking they know what is best for us and skewing news, polls, and studies to make sure that they are proven to be correct. Average Americans are not nearly as stupid as you think we are. It appears that all of you may wish to enroll in a new institute of higher learning—the school of common sense. It seems that it is seriously lacking in our current educational and political system.”

“The university has nothing to do with this letter,” counters RBeck. “It was written by fellow classmates and signed by several thousand fellow alumni, all exercising our own right to free speech. No one has muzzled him; we disagree with him.” Indeed, as RBeck notes, Miller had a column in the Duke student newspaper while he was there. “Fortunately, you are in the minority,” commenter Human Being chides Kayt. “There are more of us, millions more, than there are of you. Most of us celebrate diversity and the reasons that people come from all over the globe to join us in our freedom. Through a fluke, No. 45 won the election by about eighty thousand votes. He lost the popular vote by more than three million. If we are allowed to have free elections in 2018, we will squash the conservative social policies your ilk is trying to enact and begin the process of putting fairness and equality back into our everyday lives. If we are still allowed to have free elections in 2020, we will elect a powerful (hopefully female) president to help us show ourselves and the world that we are not an unhinged country of racist, homophobic bigots that is intent on becoming the next Third Reich.” “I’m seriously puzzled at people who feel oppressed and abused because they can’t exercise their racism, homophobia, and socioeconomic sense of superiority over others,” writes EveM. “You’re not victims; you create victims. No one’s forcing you to convert to a different religion, nationality, sexual preference, or economic status. We just don’t want to be like you. Your rage comes from not being able to force your dogma on everyone. We never voted to ban your religious schools, we just don’t want to go to yours, nor do we want to have your dogma imposed on others in a nonreligious school. And please don’t give me the old “but Obama and HRC were evil!” blather. Look up the ‘tu quoque’ fallacy. That’s you.”

“You’re not victims. You create victims.”

Want to see your name in bold? Email us at backtalk@indyweek.com, comment on our Facebook page or indyweek.com, or hit us up on Twitter: @indyweek. INDYweek.com | 2.22.17 | 5

triangulator 2. The “cooling-off period” means municipalities may never get their own nondiscrimination ordinances.

HB 2 dealt with more than bathrooms. It also forbade municipalities from enacting antidiscrimination ordinances, like Charlotte had done. GOP fears that cities would rush to pass pro-LGBTQ laws spiked a deal to repeal HB 2 in December. So Cooper has proposed that municipalities give the legislature a thirty-day notice before enacting new ordinances. Which, of course, gives the General Assembly—and its veto-proof Republican majorities—plenty of time to kill them.

3. Republicans won’t have to deal with the consequences of their bigotry.

1. It lends credence to

the myth that transgender people are perverts.

The bathroom panic that presaged HB 2 was based on the notion—not rooted in any actual data—that men would pose as transgender women to gain access to women’s bathrooms and sexually assault women there. “If keeping men out of women’s showers and bathrooms protects just one child or one woman from being molested or assaulted,” said Lieutenant Governor Dan Forest, “then it was worth it.” By proposing harsher penalties on “crimes that violate the safety, security and privacy of people in public bathrooms,” as Cooper tweeted last Tuesday, Cooper pretends that this was a real problem. It’s not, and saying otherwise to score a political victory is an insult to the transgender community.

4 REASONS ROY COOPER’S HB 2 COMPROMISE IS A BAD DEAL

The HB 2 fallout has cost the state hundreds of millions of dollars, but the bigger loss has been to the state’s reputation; in the national eye, we’re now just another bigoted Southern backwater. Politically, however, the heaviest blow to the law’s architects has been the loss of sporting events. You can lose a Deutsche Bank or PayPal expansion and a good portion of the state will shrug; make the Tar Heels play the first round of the NCAA Tournament out of state, and the governor will lose his reelection. Wth HB 2 off the books—even if the state offers no protections for its LGBTQ population—that disincentive goes away.

4. Conservatives will still whine that Cooper loves perverts.

So let’s review: Cooper’s concessions won’t do anything to actually protect the state’s LGBTQ community, but they will help shield the Republicans from the ongoing HB 2 fallout. Outside of the editorial pages of The News & Observer, that doesn’t sound much like a victory. And it’s not like it will endear him to those conservatives with whom he seeks to compromise. Take our man Forest, who released this statement the day Cooper’s proposal was announced: “If Governor Cooper’s proposed bill for repealing HB 2 becomes law, it will create a state-sanctioned ‘Look But Don’t Touch’ policy in our bathrooms.” Or House Speaker Tim Moore, who promptly dismissed the bill’s chances of making it through the General Assembly in an interview with the N&O: “It’s really not anything new from what we’ve seen before.”

GRAPHIC BY JEFFREY C. BILLMAN, KEN FINE, AND SHAN STUMPF 6 | 2.22.17 | INDYweek.com

+DISAPPEARING ACT

A clever, curious ad appeared on page 12A of Sunday’s News & Observer. Paid for by Evalyn Johnson of Cary, an eighteen-year-old biology major at N.C. State who raised more than $2,000 on GoFundMe toward the quarter-page effort, the ad carried U.S. Senator Richard Burr’s now-familiar pic—that oddly thin, almost forced smile, those sharp blue eyes—above the text: “LOST—United States Senator. He may respond to the title ‘Senator Richard Burr,’ though his constituents have been unable to verify whether this is still the case, as they have been unable to contact him in recent weeks.” It goes on to say that since his recent reelection, Burr’s “concerned constituents” have been “unable to reach the Senator and have received no response to their communications. If found, please return Senator Burr to his constituents by way of a Town Hall meeting or other suitable gathering in which the Senator demonstrates his accountability to his constituents by listening to and honestly addressing their concerns.” The context is that Burr—the chairman of the Senate Intelligence Committee, who is now leading the investigation into the Trump campaign’s alleged connections to Russian operatives—and fellow senator Thom Tillis, as well as many U.S. represen-

PHOTO ILLUSTRATION BY SHAN STUMPF

tatives from North Carolina, are taking a pass on town halls during the current tenday congressional recess, which ends February 27. In fact, all over the country, these town halls are in short supply, as members of Congress are dodging angry constituents concerned about health care reform, immigration, and the president’s attacks on the press and judiciary, as well as a left reinvigorated by the nascent administration’s chaos and scandal.

So why single out Burr? Johnson, a junior who graduated from Enloe High School at the age of fifteen, says she’s seen several examples of constituents trying to reach Burr’s office who haven’t gotten any response. One acquaintance posted on Facebook, recounting her efforts to get Burr to do a town hall; in the comment thread, someone suggested an ad. Johnson liked the idea, so she got to work. “Burr specifically has dismissed the protesters and callers as paid agitators,” Johnson says, “and, as far as I can tell, that’s not true. They’re concerned about their children’s education and their health care and to have them dismissed is kind of insulting.” And this underscores the need for face-toface interaction, rather than relying on comments posted on the senator’s website. “It’s really easy to dismiss someone’s concerns when all your seeing is typed letters on a screen,” she says. “But when you talk to people in person, it’s a lot easier to understand that they’re worried or scared and that your actions affect your constituents.” In short, Johnson says, Burr needs to hear from those he represents. Instead, he’ll be out of state on official business. (Fittingly, perhaps, his office did not respond to the INDY’s requests for comment.) triangulator@indyweek.com This week’s report by Jeffrey C. Billman and Ken Fine.

PERIPHERAL VISIONS | V.C. ROGERS

Erin Hoffman

erin_hoffman@med.unc.edu 919-843-0720 OR

Susan Blevins

suzanne_blevins@med.unc. edu 919-843-8763 INDYweek.com | 2.22.17 | 7

indynews Shape Up

WAKE COUNTY IS THE HEALTHIEST COUNTY IN NORTH CAROLINA—BUT THERE’S ROOM FOR IMPROVEMENT BY THOMAS GOLDSMITH Knowing that living in one ZIP code instead of another a few miles away can result in years of shorter life expectancy, Wake County is putting together a task force to deal with health disparities that could be touched by many segments of county government. The Wake Board of Commissioners agreed to set up the twenty-five-member group during a session Monday in which they also heard an update on the presence of uranium in eastern Wake wells, as previously reported by the INDY [“Hot Water, August 17, 2016], and received a draft report on how the county is spending its transit bond funds. Overall, Wake ranks at the top of North Carolina counties in terms of the health of its residents. But a report prepared for commissioners identified a number of potential trouble spots. Among them: higher-than-desired rates of chlamydia, adult obesity, physical inactivity, childhood poverty, unemployment, and alcohol-impaired driving deaths, and a too-low percentage of older women who received mammography screening. Indeed, 14 percent of the county’s children live in poverty, more than 20 percent of its adults report no physical activity during leisure hours, and more than 25 percent of residents are obese. No money is set aside for the new task force, whose report is due in April 2018. But Regina Petteway, Wake human services director, and Sig Hutchinson, the county commission chairman, said the task force will work to wrap health considerations around transportation, affordable housing, parks planning, and other county functions. “I think we want to level the playing field around some of these disparities in life expectancy and quality of life,” Petteway told the INDY after the meeting. (A child born in Wake County in 2015 can expect to live about 81.6 years, according to the N.C. State Center for Health Statistics. White children have about four years’ greater life expectancy than black children, and women live about four years longer than 8 | 2.22.17 | INDYweek.com

TROUBLE SPOTS Wake is No. 1 in overall N.C. health rankings, but it has work to do in important areas.

25% 18% 71% ADULT OBESITY (adults reporting a BMI of 30 or more, as of 2012)

PHYSICAL INACTIVITY

(adults under 20 reporting no leisuretime physical activity, 2012)

MAMMOGRAPHY SCREENING (female Medicare enrollees age 67–69 who received a mammography screening, 2013)

18% 14% ALCOHOLIMPAIRED DRIVING DEATHS

(amount of all driving deaths with alcohol involvement, 2010–14)

CHILDREN IN POVERTY

(children under age 18 in poverty, 2014)

SOURCE: WAKE COUNTY

men.) “We have such an invested group of core partners.” “Your ZIP code can be a stronger determinant of your life expectancy than your parents,” Hutchinson adds. “This [task force] can be the model of improving the health and welfare of our neighborhoods.” According to the presentation, members of the task force will be drawn from across vulnerable communities, health care organizations, foundations, social services, housing and business interests, human services agencies, and geographic regions. Although parts of the task force’s work will be directed at low-income populations, Petteway says, there’s also a larger goal—for all residents to take better care of themselves. After all, the current wave of opioid and heroin abuse is striking all income levels, she notes. “We recognize that it’s going to take a while to get this done,” Petteway says. “Health is a state of the community, not merely the absence of disease and infirmities.” Also on Monday, Commissioner John Burns presented new information on the

uranium found in private wells in eastern Wake County. “We want to assure the public that the uranium is from naturally occurring granite,” Burns said. The county had begun testing for uranium in 2010, after a resident sent a sample of his well water to the state lab and it tested positive for high levels of uranium. Burns recommended that landowners in areas of the county where groundwater is known to contain varying levels of uranium should have their water tested either through private contractors or through Wake County Environmental Services (the county’s test costs $40). In addition, the Wake County Water Partnership, created by the commission in May, will hold its first meeting March 1. Even though no spate of illness has been attributed to the uranium levels, which exceed federal allowable standards, “There are sites of potential concerns,” Burns said. “We want to make sure that new wells that go in … don’t face contamination issues.” County staff will develop plans for evaluating wells and set up rules for groundwater protection, Burns said. (In 2014, as the

INDY reported, the county’s Water Quality Division ceased mandatory testing for uranium based on an interpretation of state regulations.) Finally, Hutchinson announced the release Tuesday of a draft report on transit needs to be addressed with $91 million in funding from a voter-approved sales tax increase, as well as vehicle rental and registration taxes. The plan for the fiscal year that starts in July, which requires approval by the Transit Planning Advisory Committee, gets into short-term needs “such as increasing weekend and evening service and to provide smaller capital projects such as ADA improvements and increased bus stops,” the report says. It also puts money toward studies and plans for new routes and peak service provisions, as well as for capital projects like commuter rail and bus rapidtransit efforts. “We want to push this out to citizens so that they do know that the plan is actually being implemented with more hours of service,” Hutchinson told commissioners. tgoldsmith@indyweek.com

news

Dream On

IF PRESIDENT TRUMP GETS RID OF DACA, WILL LOCAL UNIVERSITIES PROTECT STUDENT DREAMERS? BY ERICA HELLERSTEIN In 2012, when Oscar Ivan Santoyo Apolonio heard that President Obama established the Deferred Action for Childhood Arrivals program, he was hopeful—but nervous. Apolonio, then a high school student, was undocumented; he came to the Triangle with his parents when he was four years old from Michoacán, Mexico. He knew that DACA, which grants temporary work permits and a deportation reprieve to undocumented immigrants who arrived as minors, could change his future. “Initially, when I was in high school, I was not even thinking about going to college, not even applying for it,” he says. “But when Obama signed that executive order, that gave me hope that I could have a different life.” But Apolonio also knew that the program could be reversed under a new president. Still, he applied for DACA in 2012 and was approved the following year. He received a driver’s license and Social Security number, was admitted to N.C. State, and scored a research assistant internship. In just a few years, Apolonio went from vaguely considering college to becoming a civil engineering major with a plum research gig. Now Apolonio, twenty-one, thinks about the program’s fate relentlessly. When he’s in class. When he’s at his internship. When’s he’s studying at home. “It’s a constant thought in my head,” he says. He has reason to be concerned. On the campaign trail, Donald Trump pledged to get rid of DACA. But at a press conference last week, he promised to approach the DACA participants, or Dreamers, “with great heart.” Later that evening, however, the Los Angeles Times reported that the administration might quietly ax the program’s protections. If that happens, it could throw the futures of some 750,000 DACA recipients into chaos. In North Carolina alone, the program serves some fifty thousand recipients, according to data from the U.S. Citizenship and Immigration Services. Which raises the question: What can

local universities do to help DACA student-recipients if the program is repealed or eroded into oblivion? The answers so far have been underwhelming. The UNC system didn’t respond to the INDY’s requests for comment. But for months, some faculty and students have been pressing the system to establish itself as a “sanctuary campus,” by refusing to comply with government efforts to deport undocumented students. A November petition signed by thousands of UNCChapel Hill students, alumni, and faculty called on the university to protect undocumented students. UNC leadership responded with an affirmation that “the values that this great university upholds have not changed” since Election Day. That affirmation failed to address the petitioners’ requests. Kennith Echeverria, a junior at UNC-Chapel Hill, says he found the university’s response “completely disappointing and irritating.” “As a native of North Carolina, son of immigrant parents, and current UNC student, I really wish that there was more being done,” he says. “I really had hoped that the university administration would have done something by now, but they’re silent on this issue while we’re seeing many other universities speaking out. And really I think that the top administrators are just really afraid to make the stance.” As Echeverria points out, university leaders elsewhere have been less tepid. On February 2, a group of forty-eight U.S. university presidents and chancellors sent a letter to Trump following his executive order in which he temporarily forbade entry to the United States from seven Muslimmajority countries and suspended refugee resettlements. Ariana E. Vigil, an associate professor in the Department of Women’s and Gender Studies and affiliate of the

PHOTO BY ALEX BOERNER

Latina/o Studies program, told the INDY she would have liked to have seen the same kind of “moral leadership” shown by UNC. “I would like to see the administration take some concrete steps,” she says. “Other universities have declared themselves sanctuary universities. It would be nice to have the university offer concrete and free legal support to students who may be impacted.” While Duke University administrators have voiced support for Dreamers, President Richard Brodhead has also said the term sanctuary campus “has no basis in law.” In December—and after the Duke Student Government passed a resolution urging the administration to make Duke a sanctuary campus that withheld students’

information from immigration officials without a subpoena and required immigration officials to get a warrant before entering school property—Brodhead sent a message to the student body noting that he’d signed a letter in support of DACA students but saying that “no university in America can declare itself immune from the rule of law.” As the Duke Chronicle has noted, the University of Pennsylvania and Columbia University have declared themselves sanctuaries for undocumented immigrants (though they don’t use the term sanctuary campus). That gets a little trickier in North Carolina, where a state law passed in 2015 forbids cities like Raleigh or Durham from becoming sanctuaries either—and, in fact, a bill introduced earlier this month would seek to withhold tax revenue from any that try. “I think that we are entering a period where we are going to be called upon to make some really difficult decisions about what we are willing to do to protect people and to help people who are facing these really dangerous potential outcomes from the Trump administration,” says Durham city council member Jillian Johnson. “I don’t know how much our institutions can help. I don’t know how much the city can really do.” When the time comes, Apolonio says, he wants the UNC system to have his back. He hasn’t heard anything from his school’s administrators yet, but he hopes they’ll “do everything they can” so that he can complete his studies. “Being a DACA student at this moment is scary because you don’t know what’s going to happen in the future, and it just sucks to be in a situation like this,” he says. “So much of my life depends on DACA. So if it was to be taken away from me, it would be more difficult than it already is. It would just be like, so many dreams crushed.” ehellerstein@indyweek.com Additional reporting by Sarah Willets. INDYweek.com | 2.22.17 | 9

news

Democrats in the Afterlife ONLY BY LOSING THEIR LUST FOR POWER CAN DEMS REGAIN IT BY BAYNARD WOODS

s Democrats choose the new chair of the Democratic National Committee this weekend, the worst thing they could do is claim credit for the resignation of former general Michael T. Flynn as national security adviser and the withdrawal of Hardee’s honcho Andy Puzder as secretary of labor nominee. It will make them underestimate their own weakness, which was painfully apparent at a recent party forum in Baltimore. The forum—the last before 447 party faithful vote for a new chair in Atlanta on February 26—was held in the same Baltimore Convention Center as a car show, and it had the same atmosphere. Each candidate for party office had a table in the hallway where volunteers presented their candidate as the shiny new model of Democrat. And like car buffs refusing to acknowledge their dependence on a nonrenewable resource and the corresponding need to maintain a murderous petro-empire, most everyone at this DNC Future Forum refused to recognize that they were dead. They fluttered around with futile hope, as if everything were ultimately the same. The scene was Woodstock for necrophiliacs. Everyone had taken the brown acid. “What we have seen in these few short weeks is carnage and chaos,” said establishment front-runner and former secretary of labor Tom Perez. “We see it every single day, the assault on our democracy.” For all of them, it seemed, the answer was to rebuild the party. But what will that look like? Democrats have no hope in 2018, when they will defend twenty-five Senate seats, only twelve of which seem safe; eight Republicans are up for re-election—and only two of those seats are truly vulnerable. And while they may win a few House seats, there is no possibility of regaining control. We all need to recognize that America is 10 | 2.22.17 | INDYweek.com

a single-party state. Whoever takes hold of the Democratic Party on February 26 must find nonelectoral ways to use the party to help save our democratic institutions. Otherwise, the party will cease to function, even as a ghost. Most of those vying for leadership posi-

What if Democrats stopped worrying about rebuilding their party and started to think about defending American institutions? tions spoke about “resisting Trump” and drawing energy from anti-Trump protests around the country. U.S. Representative Keith Ellison of Minnesota, the favorite of the Sanders faction and the first Muslim elected to Congress,

spoke with a passion and charisma noticeably lacking in many other candidates, who seemed to have trained at the John Kerry school of longwinded and indirect answers. Ellison recognized a “climate of dis-ease among Democrats” and understood the need to “engage all citizens-turned-activists moving in on this new movement.” Though he was vastly superior to Perez, the engagement Ellison spoke of easily slips into vampiric attempts to suck the energy from a movement that has grown in spite of him and his party. When hundreds of protesters showed up a few weeks earlier at Baltimore-Washington International Airport, former Maryland governor, presidential candidate, and perennial hack Martin O’Malley showed up to grandstand in front of the crowd, as did U.S. Representative Elijah Cummings. The often-grandstanding, pharma-shilling New Jersey senator Cory Booker and five House representatives from Maryland and Virginia did a little better and went to Dulles International Airport—where they might have made a difference—and demanded to see people being detained by Customs and Border Protection agents. But they left long before the lawyers who did the real fighting. The people running for DNC chair have been slow to catch on, too. On the day of the Women’s March, as millions of Americans moved forward without them, the candidates attended yet another fundraising forum on the future of the party. Only Pete Buttigieg, mayor of South Bend, Indiana, had the sense to skip the intraparty event and march with the people of his city. (Ellison and Perez only stuck around part of the time.) Listening to the candidates, I kept thinking that the question is not what can the country do for Democrats, but what Democrats can do for the country. At the very moment that the DNC chair candidates discussed the future of the party

in Baltimore, Immigration and Customs Enforcement officers had racked up more than six hundred arrests in a single week in raids that seemed to target sanctuary cities around the country. “The raids on immigrants are things that tear my heart apart,” Perez said. What if the Democrats stopped worrying so much about rebuilding their party and started to think about defending American institutions? Instead of debating in a convention center, they could physically put themselves between those enforcing Trump’s policies and those most affected by them. They could be out on the streets in Latinx neighborhoods, ready to provide legal aid, witnesses, and, if necessary, people to be arrested. When Flynn resigned amid allegations that he had discussed sanctions with the Russian ambassador while Barack Obama was still president, filmmaker Michael Moore tweeted, “We demand that the weak & spineless Democrats bring Congress 2 a halt until investigative hearings are held & impeachment charges are filed.” And he is right. Democrats’ fatal mistake is acting like they will maintain our respect by playing it cool. You lost to Donald Trump. You can’t play it cool. All of the Democrats who boycotted the inauguration after Trump insulted Representative John Lewis did so, in part, because of the courage Lewis showed on the Edmund Pettus Bridge half a century ago. President Johnson may have stepped in to propose legislation after cops smashed Lewis’s head on Bloody Sunday, but Lewis did not wait for LBJ. What if all the candidates for DNC chair went to stand with the the water protectors at Standing Rock? Precisely because the Democrats lack political power, they have the potential to become a great moral force if they are willing to be beaten and teargassed and arrested. Instead, they are all blinded by the possibility of regaining power, like underworld shades still pining for their previous lives. Twitter: @baynardwoods

MDD 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 get compensated up to $280 for completing this study. If you are interested in learning more, contact our study coordinator at: morgan_alexander@med.unc.edu Or call us at (919) 966-4755

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Lost and Found

OLD HAVANA SANDWICH SHOP DIGS UP THE CULINARY GEMS OF CUBA’S PAST IN A REVELATORY DINNER SERIES BY VICTORIA BOULOUBASIS

oberto Copa Matos has a one-line explanation for his style of cooking: mise en place begins in the soil. Chefs employ the French culinary term at the prep table, where every ingredient is chopped, diced, and neatly piled into its assigned ramekin or measuring cup, ready to be tossed into a frying pan or mixing bowl. At Old Havana Sandwich Shop, Copa Matos and his wife Elizabeth Turnbull have dug up both local ingredients and a rich culinary history, pressing them into sandwiches and showcasing them in their recent dinner series “Lost Dishes of Cuba.” “We realized one day we were farm-totable,” says Turnbull. “Once we made that decision, we knew we are in it for the long haul. Roberto wanted to show we can use stuff right here in Durham to make food from anywhere in the world.” The small restaurant, which just celebrated six years, occupies a 1920s structure that formerly housed the Durham Sun newspaper. With its grandiose arched windows, coffered ceilings, and creaky wood floors, the historic space sits just one block east of Durham’s downtown hype. Turnbull jokes that she just “shows up” while Copa Matos does the heavy lifting, like breaking down whole hogs and cooking his entire menu in a narrow double-decker oven, concocting extras on two small burners. His pork, locally and sustainably raised, is the best in town. Amid a never-ending sprawl of food businesses, Old Havana has quietly assembled a simple sandwich menu with diverse subtleties. You’ll find the classic Tampa-style, of course. But then there’s the Veracruz, a collaboration with cook Berta Sanchez. Copa Matos needed to use the pork skin in his snout-to-tail endeavors. Sanchez pulled from her native Veracruz, a coastal Mexican city with Afro-Cuban descendants, and made a saucy chicharron topping. With this menu comes a steady stream of regulars. “He made a restaurant that is on the fringe, not even in the center [of down-

it. Turnbull says her scientist husband “runs his kitchen like a lab. We don’t have recipes, we have protocols.” And like any scientist, Copa Matos craved the freedom to experiment. “I had my complaints with Cuban cuisine,” says Copa Matos, who was born in Cienfuegos in 1971. “Everything is straightforward. There are just a few ingredients and techniques—with a beautiful outcome, but not much room for creativity.” Then, in a footnote in a book, he happened upon the title of another: Nuevo Manual del Cocinero Cubano y Español, published in Havana in 1864. Turnbull, who also works at her parents’ Light Messages PublishArroz y garbanzos with a helping of pork belly PHOTO BY ALEX BOERNER ing, hunted down the manuscript and town], enough of an attraction that it has reprinted copies of the book in 2013, with a survived more than five years,” Turnbull foreword by Copa Matos. In it, the Durham says. chef found a rich culinary history, the result A biochemist by trade, Copa Matos fell of colonial conquest and cultural exchange, into cooking when the initial plan for Old that opened his eyes to a Cuba he never Havana fell through—his extended family knew. He left Cuba for Spain in 2001, at age decided at the last minute that they didn’t thirty, before crossing the U.S.-Mexico borwant to move to North Carolina to help der a year later, seeking political asylum. run it. Having made the financial invest“I thought, my goodness, in the 1800’s ment already, the couple decided to go for in Cuba they were eating vegetables that

I didn’t know the names of in Spanish,” he says. “I had to check in the dictionary. I realized that the book was calling from the whole island.” In one recipe, barely wilted French sorrel, a bitter and sour perennial herb, is combined with eggs for a creamy soup. Another, butifaras (sausages), incorporates Middle Eastern elements like cinnamon, clove, and anise, but labeled Cuban. And then there’s the “apio a lo Bayames,” a recipe from a now impoverished city far from Havana and rooted in celery, something Cubans don’t grow anymore. For the Americanized palate, these ingredients are a far cry from what we may expect from a place serving toasty Cuban sandwiches. So Copa Matos rolled out a series of dinners, “The Lost Dishes of Cuba,” to celebrate local ingredients in a historic context. To extend their idea of mise en place even further, the couple teamed up with Samantha Gasson of Bull City Farm to source and raise Mangalitsa pigs, a Hungarian heritage breed touted among top American chefs for their brilliant lard and rich meat. Gasson and Turnbull trekked up to West Virginia to haul back what are now among the only Mangalitsas in North Carolina. At last Friday’s dinner, an ambitious sixcourse menu celebrated the shop’s anniversary. One whole pig served dozens of diners. Cured slices of the mangalitsa came fleshy and marbled on slabs of slate. Lardo melted on the tongue like caramel. Gasson bit into a crusty slice of baguette spread with a generous smear of pâté made from her first Mangalitsa pig, and closed her eyes. “This pig is amazing,” she said, showing me a photo on her phone of the breakdown. The 205-pound carcass glows crimson like beef, resembling a steak in the braised fifth course. But we’re reminded that this is about pig, creativity, and finding that sweet spot in the final course: crisp, crushed chicharron garnishing a decadent chocolate torte. food@indyweek.com INDYweek.com | 2.22.17 | 13

indymusic

BLUE CACTUS

Saturday, Feb. 25, 9 p.m., $10–$12 Cat’s Cradle Back Room, Carrboro www.catscradle.com

Prickly Pair

WITH BLUE CACTUS, STEPH STEWART AND MARIO ARNEZ EMBRACE THE GAUDY TRAPPINGS AND HEAVYWEIGHT EMOTION OF CLASSIC COUNTRY MUSIC BY CORBIE HILL

ow the West Was Worn sits among the books on the coffee table of Steph Stewart’s small, mid-century Chapel Hill apartment. The place has aged to a state of well-worn comfort, and Stewart's additions, such as the vintage guitars that hang on one wall, add to its character. Inside the book, the relationship of age to glitz is inverted. How the West Was Worn demonstrates how western wear has gone from practical and hand-hewn trail garb to the flashy cowboy chic of the Nudie suits popularized by country singer Porter Wagoner. If they had their way, Stewart and her partner, Mario Arnez, would own half the outfits in this book. “There’s not enough money on Earth, I think,” Arnez laments. With their duo, Blue Cactus, Arnez and Stewart have found a place of comfort in the pomp and fashion of mid-century country music. The band name derives from an unlikely colored saguaro on one of Arnez’s western shirts, and the duo's blissful embracing Nashville kitsch has become a hallmark. “It’s so aware of its flamboyancy, and it just doesn’t have a problem with that,” Stewart says. Previously, Arnez and Stewart were half of Steph Stewart and the Boyfriends. After releasing its second LP, 2015’s Nobody’s Darlin, the string band began to wind down, yet the two continued writing songs together. Stewart’s marriage deteriorated and she moved out on her own. She and Arnez are now more than just songwriting partners, and they'll release their debut as Blue Cactus Saturday night in Carrboro. After two string-band records with the Boyfriends, the switch to classic country and exploration of new sonic frontiers felt natural. Arnez and Stewart have became a nimble creative unit, adept at exploring heartbreak and hope with time-tested honky-tonk humor.

14 | 2.22.17 | INDYweek.com

“With this record, there was no preconception necessarily or limitation we felt we had to deal with,” Arnez says. “We didn’t have to put a ceiling on any of these arrangements.” He and Stewart love acoustic music, but as they moved past the string-band format they realized Blue Cactus could sound like anything: there could be electric instruments, such as Arnez’s electric guitar intro on “Opening,” which briefly invokes Neil Young’s Dead Man soundtrack; there could be protracted sprawls, such as the orchestrated, seven-minute “Years Are the Minutes” which closes the record. Stately horn sections, as on “Pearl,” and Opry-esque choral backing, as on “I Never Knew Heartache (Then I Knew You),” also had a place. Arnez and Stewart remain good friends with the other two members of the Boyfriends, both of whom contributed to the record. Omar Ruiz-Lopez played violin, while Nick Vandenberg coproduced, played a halfdozen instruments, and wrote the downand-out barroom ballad “From the Bottle to the Floor.” Stewart makes certain to point out that her former band isn’t necessarily finished, even if it isn’t gigging or recording. “That might happen again,” she says. “Nick moved to Boston recently and that was part of the reason we started to create a new project.” The sessions for Blue Cactus, recorded in Vandenberg’s Chapel Hill house before he moved, were organic and personal. Mandolin Orange fiddler Emily Frantz, who lives down the street, would just walk over to make her contributions. The players packed into a 12-by-12-foot bedroom that had been converted to a sound room. It was the heart of summer, and the air conditioner was turned off to aid the vocalists. That bothered Stewart less than one might expect. “I think it’s nice to have a little bit of discomfort,” she says. Considering the heavy emotion in these

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Mario Arnez and Steph Stewart are Blue Cactus. PHOTO BY ALEX BOERNER songs, it made sense to record them live so the music could ebb and flow naturally. And Stewart knows that country music purveyors translating physical pain into powerful music amount to a historical precedent. “With Patsy Cline, she had just broken her ribs, which is forcing her to kind of be present,” Stewart says, referring to the storied recording session where Cline sang Willie Nelson’s “Crazy” with fractured bones. “She’s feeling literally every painful thing she sings.” For Stewart, the pain is just as real. “My marriage fell apart in the past two years,” she says. “I don’t think I could write anything else.” For all that upheaval, Stewart says her songwriting dynamic with Arnez hasn't changed, now that they’re a couple. They’ve tried new approaches—writing songs titlefirst, say, which led to cuts like “So Right

(You Got Left)”—but the way these two talk about songwriting has remained consistent. In a 2015 interview ahead of the second Boyfriends release, they were reading books by songwriting coaches and trying to start a meet-up group for songwriters. Two years later, they’re still reading songwriting books, and their sights are set on a few retreats this summer, where they’ll hone their craft and get started on the second batch of Blue Cactus tunes. If these cuts are anything like the ones they’ve just completed, they’ll be lonesome and sad overall, a little hopeful, and laced with silly wordplay and gallows humor. Even in the toughest times, Stewart points out, it’s important to remember how to laugh somehow. Spangled garb certainly helps. “It’s like moths to the flame, I guess,” Arnez says. “It’s just so bright and beautiful.” music@indyweek.com INDYweek.com | 2.22.17 | 15

music

Beyond the Pale

THE CORPORATE GENRE OF FOLK MUSIC IS MUCH WHITER THAN THE LIVING TRADITION. THAT’S FINALLY CHANGING. BY ALLISON HUSSEY

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Not long ago, the Nashville-based blues singer, songwriter, and guitarist Adia Victoria took to Facebook to respond to the online chatter regarding pointed comments she made in an MTV News article about the state of Americana. She indicted an industry in which a largely white pocket of the music world attempted to take ownership of her identity and work. “I have been treated as a special exotic ornament that they can point to and say 'see! see! That, too, is Americana!’,” she wrote, continuing, “But here's the rub: I'm not yours. You do not decide under what genre I create and what community I represent.” Americana isn’t the only rootsy faction that struggles with the way it treats and represents artists of color. Its more acoustic cousins—folk, bluegrass, old-time—have the same problem. Kaia Kater is a young Canadian banjo player who released her second album, Nine Pin, last year. The record isn’t purely bluegrass, but Kater grew up around folk music and musicians; her mother served as the director for a folk festival for many years. She’s spent her whole life taking it all in, and she knows that at many folk-related concerts and festivals, it’s rare to see a person of color in any context. “As much as Americana is tough, bluegrass is even crazier,” Kater says. “I don’t know a single black person that plays bluegrass, or that is in a bluegrass band that I know currently. That’s insane.” How did that happen, given that the black experience weighs so heavily on American traditional music? According to Dom Flemons, one of the Carolina Chocolate Drops’ original members, you have to separate the folk tradition, which consists largely of nonprofessional players, from the commercial style of folk that emerged in the sixties and seventies. “The genre of folk music wasn’t made by

“The genre of folk music wasn’t made by people of color. It was made by leftleaning white people that were interested in elevating the style of music that, at that time, was considered subpar or just beneath what was legitimate music.” people of color. It was made by left-leaning white people that were interested in elevating the style of music that, at that time, was considered subpar or just beneath what was legitimate music,” Flemons says. The folk revival shed new light on underappreciated traditional music, but it didn’t always involve or include the artists of color who had perpetuated the form throughout decades of racial discrimination. Folk music and its adjacent styles still haven’t fully recovered from or reconciled with this legacy. “I grew up in folk music, and a lot of folk music was, ‘Free to be you and me, we’re all equal.’ And we’re not. That’s the hard part,” Kater says. “We have to acknowledge that, and see how those dynamics function, and

DOM FLEMONS, KAIA KATER, AND JERRON “BLIND BOY” PAXTON Friday, Feb. 24, 8 p.m., $27–$42 Fletcher Opera Theater, Raleigh www.dukeenergycenterraleigh.com

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Dom Flemons PHOTO BY MICHAEL WEINTROB how we can really help each other, and how we can really listen to each other to make things better for my grandchildren.” Flemons and Kater, along with Jerron "Blind Boy" Paxton, will do some of that work together during their Friday night concert in Raleigh. The three are among a handful of people of color who are asserting their rightful place in folk, bluegrass, and old-time circles. Kater and Flemons recognize the centuries-long impact of white supremacy on the music they play. Flemons says he doesn’t want to make people feel bad, but he feels a responsibility to testify about the history of the music he plays—the good and the bad parts. “If people enjoy the music, that’s the first key. The music at least softens the blow so that people’s minds can be open to discussing these harder issues,” he says. “I like to use the music as the way to break through the barriers, more than using the actual rhetoric as my talking point.” Kater’s approach is more direct. She wrote the slow, stunning “Rising Down” as a response to the Black Lives Matter movement, shortly after the killing of Tamir Rice in 2014. When Kater first began performing it in collaboration with tap dancer Katharine Manor, she was attending college in West Virginia, and lines like “Your cross is a symbol of my lynching” made her white audiences uneasy. That was fine with Kater. “We figured that the best way to make people confront those things is to just say it,

and not to have any warm-up or coddling,” she says. But while white performers and audiences still dominate, Kater and Flemons both say that the overall situation is improving. Flemons credits the cultural normalization of people of color in public spaces, which he links to the visibility of the Obama administration—it’s no longer so unusual to see people of color in advertisements or on television, he notes. “We’re able to be honest about who we are for the first time in history, really, and still be successful,” Kater adds, pointing to Nina Simone as an artist whose outspoken rejection of racism derailed her career. Flemons, meanwhile, sees progress writ large in Paxton and Kater’s careers. Things are different than they were a decade ago, when the Carolina Chocolate Drops were making their ascent. “They are coming into a time where it’s not a completely crazy thought that the banjo is an African instrument and that them being able to play the instrument on stage is not that strange,” he says. The only thing that's strange now is that it took so long for folk camps to come around. But perhaps even a slow start can lead toward accelerated inclusion, in which “free to be you and me” is a practiced principle instead of a platitude. ahussey@indyweek.com

INDYweek.com | 2.22.17 | 17

indyart

NINA CHANEL ABNEY: ROYAL FLUSH Through July 16 Nasher Museum of Art, Durham www.nasher.duke.edu

Full Color

WITH EMOJI-STRENGTH FORMS, NINA CHANEL ABNEY OVERPOWERS THE LIMITS PLACED ON ARTISTS BY IDENTITY POLITICS BY CHRIS VITIELLO

INDY: Your work has a clean and messy aesthetic. In this mural, for example, you have these perfect, taped-off shapes. But you’re not completely filling them in with spray paint, leaving evidence of your gesture with the can. NINA CHANEL ABNEY: It’s been a progression to that. At first I was really drippy and painty. Then that became a tighter way of working. Now I’m at the point where I’m trying to combine both. I’ve done some work that was organized messiness too. I would allow certain sections where I would be messy within a square. How do words and numbers function in your work? Sometimes I’ll see text more as a shape. But I also like to throw the text in for the content, or to throw someone off for assuming a certain content. 18 | 2.22.17 | INDYweek.com

PHOTO BY J CALDWELL

ina Chanel Abney is an apt artist for this political moment. The ten-year span of work represented in Royal Flush at the Nasher, her first solo museum show, focuses on race, gender, and identity politics as well as criminal and social justice issues in ways that are critical but not didactic, ambiguous but never vague. This feels crucial in a time of problematically entrenched, opposed public arguments. Abney, born in Chicago and based in New York, refutes any dualistic view of humans and social systems, and she colors in far more than shades of gray between black and white poles. Her paintings and collages vibrate with density and activity, optically and narratively, in characterization and composition. Royal Flush includes about thirty of them, plus a large wall mural she painted at the exhibit’s entrance. Together, they combine aspects of cartoons and street art with portraiture and landscape in a uniquely restless way. In a walk-through with the INDY last week, Abney discussed how she subverts the narrow assumptions the art world habitually brings to depictions of race and gender.

“Very early on, a lot of people didn’t know I was a woman, just assuming because of the scale I worked on that I was a man. I’m always trying to challenge those things.” Nina Chanel Abney: "Ivy and the Janitor in January" COLLECTION OF NOEL KIRNON AND MICHAEL PALEY. IMAGE COURTESY OF KRAVETS WEHBY GALLERY, NEW YORK, NEW YORK. © NINA CHANEL ABNEY

That seems like an important phrase for you: throwing somebody off. That’s become an important part of my process. In some of my earlier work, I feel like it was a more straightforward narrative, but over time I became more interested in abstracting narrative. Also, I just naturally got to a point where I wanted to draw from a bunch of different references. I didn’t want to place a specific meaning onto the work. Text, symbols, all of that—using it to create multiple meanings. It seems like a lot of black artists right now, at least from a critical standpoint, are forced into either bearing witness or putting forward an ideology through their work, which kind of reduces it to documentation or protest signs. But you seem resistant to both. That’s my goal, to resist that stuff. Early on, when I was doing more portraits, I had noticed how so many assumptions are put on you. If I paint a black figure, it’s already

read a certain way. It’s going to be assumed that I’m trying to do something different by painting a white figure. So I just try to create dualities and mix the races and genders of the figures. That’s my way of giving myself the freedom of being able to paint whatever I want without it being for a specific reason. Do you see yourself as a political artist? No, I feel like it’s a side effect of me drawing from current events in my work, and from my work being very immediate. Obviously I’m going to touch on the news, but I don’t think that’s all that my work is. You’re taking stencils down to the simplest abstracted forms: hearts and circles and grass and little ovals. In earlier paintings, I was hand-painting all that, drawing out all those circles and painting them. Now I’ve made stencils. And that also came out of my interest in emojis, being able to simplify some-

thing into a form that can take on multiple meanings the same way an emoji can, depending on who’s texting it and in what context. Context is a big deal now when it comes to an artist’s identity. Do you think of yourself as a black artist? Or as a woman artist? It’s like … what a mess, you know? I know! I feel like that’s what I’ve been fighting against almost since I started. Questioning those things. And just wanting to make work, you know? I mean, why can’t a white artist paint black figures? Very early on, a lot of people didn’t know I was a woman, just assuming because of the scale I worked on that I was a man. I’m always trying to challenge those things. Obviously I accept that I’m black, that I’m an artist, that I’m a woman. But I try to not let that dictate the kind of work that I’m able to make, or that I actually make. arts@indyweek.com

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INDYWEEK.COM INDYweek.com | 2.22.17 | 19

art+stage

HEATHER GORDON & JUSTIN TORNOW: ECHO

Thursday, Feb. 23, 7 p.m., free 21c Museum Hotel, Durham www.21cmuseumhotels.com/durham

Echo Chamber

ARTIST HEATHER GORDON TURNS HERSELF INTO A MIRROR FOR JUSTIN TORNOW TO DANCE INSIDE AT 21C MUSEUM HOTEL BY CHRIS VITIELLO

Echo location: Justin Tornow inside Heather Gordon's installation PHOTO BY MICHELLE LOTKER

n recent years, local choreographers have made a lot of work about the challenges of maintaining individuality in an artistic community and in society generally. Dance artists like Anna Barker, Leah Wilks, and Ronald West have explored the difficulty of navigating between different levels of identity by mixing prerecorded monologues and conversations between dancers with live performance. In Echo, a collaboration between dancer-choreographer Justin Tornow and visual artist Heather Gordon at 21c Museum Hotel on Thursday, that multiplicity is expressed structurally. Tornow splits the same performance, presented differently, across several spaces within the hotel. Lean in the doorway of the tiny basement gallery to see her dancing inside Gordon’s installation. See that dance televised live on a monitor outside the 20 | 2.22.17 | INDYweek.com

gallery. Then go upstairs and see the movement projected during Tornow and Gordon’s artists’ talk. Gordon has transformed 21c’s basement gallery using a process that visually maps personal data like locations and dates with geometric patterns of inch-wide, mirrored Mylar tape. By covering the walls, ceiling, and floor, Gordon has transformed the space into a crucible of identity. “My work has a literal, practical basis in reflection—of myself either digitally in video or in the mirror on the studio wall,” Tornow says. “My process is to always visually engage, even though I know that in some cases I might be able to go more internal and feel the movement differently, or think about the form differently, if I turn away.” Unlike traditional dance-studio mirrors, Gordon’s parallel stripes give Tornow an

image to work with that’s both partial and true, the reflections disorienting and refracted. To Gordon, this captures the weirdly offset nature of defining oneself through one's relationships with a wide range of other people. “Let’s say that you fall deeply in love with a person and that you see the best parts of yourself in them,” Gordon says. “If you shift your point of view just a little bit sideways, you create refraction, and then all of a sudden the thing falls apart. You’ve got to have this perfect angle so that it’s all pie-in-the-sky beautiful with puppies and unicorns. And then this little sidestep and all hell breaks loose. The light hits the surface of things in such a way that the veil of them is revealed to you.” Tornow and Gordon have explored mapping life data onto image, form, and movement in prior collaborations at the Carrack

and elsewhere. In Echo, they ask where that data analysis has gotten them, and express the contradiction that haunts their answers: If one assembles oneself through interactions, is there still something individual at the core? Reflection, often lauded as selftherapeutic, is acknowledged here as a splitting of the self for the sake of observation. But refraction affords new perspectives, which may lead to insight and well-roundedness. It should all make for an entertaining and contemplative performance as audience members move through the hotel, including public parts that have nothing to do with the performance. This serves as a reminder that performance spaces are also real spaces—that you’re never taking a time-out from experience to see a show, nor do you ever stop performing yourself. arts@indyweek.com

stage

BRIGHT HALF LIFE HHHH Through March 4 Manbites Dog Theater, Durham www.manbitesdogtheater.org

With This Ring

SMALL LIFE DECISIONS AND BIG CULTURAL SHIFTS CAST CONCENTRIC RIPPLES IN A SAME-SEX INTERRACIAL PARTNERSHIP BY BYRON WOODS The quote’s a paraphrase of Kierkegaard: “Life can only be understood backwards, but it must be lived forward.” But what happens when playwright Tanya Barfield takes us sideways instead, through four and a half decades of a lesbian relationship, in her drama Bright Half Life? Under the direction of Jules OdendahlJames, promise and mischief are both afoot in the opening scene of this Manbites Dog Theater production, as Tamara Kissane’s Erica slyly, silently checks out JoRose’s Vicky during their first encounter in an office elevator. We shortly learn that Vicky is the supervisor and Erica’s a new temp—a teacher and writer moonlighting in data-entry. But as Barfield saws back and forth across time through brief, nonchronological sequences, crucial cross-sections of this long-term liaison are ultimately revealed. (How long-term? Given their various ups and downs, the history of marriage equality, and resistance from Vicky’s family, twenty years pass between their first encounter and their wedding.) After the giddiness of their early courtship, a mellow playfulness pervades as the pair searches for a kite and a new mattress. And Barfield deals frankly with several of the their early challenges, especially when they confront the racial divide in their own partnership. But when an early career sacrifice made by one on behalf of the other becomes a point of resentment later on, we see how the impact of decisions and events can ripple concentrically across adjacent years and ultimately influence the shape of the relationship. Erica is described as “soft butch” in Barfield’s script, and Kissane thoroughly explores her character through body language in an entirely different way from what we’ve seen from her in previous roles. JoRose finds both demure and candid notes in Vicki. And Joseph Amodei’s soundscape suggests

JoRose and Tamara Kissane in Bright Half Life PHOTO BY ALEX MANESS the ambience of a home at certain points with the hum of a fridge or an HVAC unit in the background. Yet domesticity doesn’t come easy for Erica. A deep-seated fear of impermanence haunts her throughout this recombinant chronicle, along with other anxieties. Nervously noting that all natural objects (including stars, fireflies, and us) have half-lives, she fears that love will fade. Jenni Mann Becker’s evocative lighting sometimes evokes those fireflies and stars, and Sonya Leigh Drum’s minimal set provides a metaphorical route for a couple’s long walk together. Barfield’s both a romantic and a realist. Over the forty-five years we spend with them, Erica and Vicky confront multiple challenges, including mortality. What’s uncanny about Bright Half Life is not what falls away over the decades, but what persists instead. Thankfully, in the warm final scenes, the half-life of love remains unknown. arts@indyweek.com INDYweek.com | 2.22.17 | 21

2.22–3.1

WHAT TO DO THIS WEEK

Beatrice Capote and Fana Fraser in Camille A. Brown & Dancers’ Black Girl: Linguistic Play PHOTO

STAGE

SATURDAY, FEBRUARY 25

FLAMENCO VIVO CARLOTA SANTANA You may have never known the term, but rest assured: you’ve known duende. Federico Garcia Lorca, Nick Cave, Leonard Cohen, and countless others have made the dark, dignified acknowledgement that there is no true love without true loss—that great passion walks hand in hand with the greatest risk. Flamenco culture has always been frank about such matters. As dancers slice the silence of the dance hall into sixty-fourth notes with percussive steps, no translation is needed for the cante jondo, or deep songs of the cantaores, which convey their ancient warnings of the triumphs and perils of the heart. Saturday night, artistic director Carlota Santana returns flamenco to the tablaos—the clubs and cabarets from which it came—in her company’s table-side performance at Motorco. —Byron Woods MOTORCO MUSIC HALL, DURHAM 8 p.m., $10–$30, www.motorcomusic.com

STAGE

BY CHRISTOPHER DUGGAN

SATURDAY, FEBRUARY 25

CAMILLE A. BROWN & DANCERS: BLACK GIRL: LINGUISTIC PLAY

In her company’s eloquent, sometimes pointed performance of Mr. TOL E. RAncE at the 2003 American Dance Festival, choreographer Camille A. Brown closely analyzed and critiqued representations of black performers in popular entertainment dating back to minstrelsy. In her 2015 sextet, Black Girl: Linguistic Play, Brown retrieves personal and cultural history by remembering and interrogating the games of childhood, including double Dutch, hopscotch, and clapand-chant competitions. “A lot of times these don’t get lifted up and are seen as trivial,” she said in a 2015 L.A. Times interview. “But I wanted to say, what happens when you honor the things that I know were highly intelligent and skillful and you put them onstage and claim them as art?” Find out the answer Saturday, courtesy of NC State LIVE. —Byron Woods NSCU’S STEWART THEATRE, RALEIGH 8 p.m., $7–$30, live.arts.ncsu.edu

STAGE MONDAY, FEBRUARY 27 & TUESDAY, FEBRUARY 28

THE VAGINA MONOLOGUES

As with Rent, the enormous impact Eve Ensler’s The Vagina Monologues made in the nineties—and its persistent cultural presence since—can make it seem dated and overfamiliar, its edge dulled by decades of use and social progress. Ensler based her series of monologues, which touch on many aspects of female experience through sexuality, on hundreds of interviews, and the show’s affirmation of the connection between loving one’s body and empowerment is a widespread verity today. But at a time when anti-vaginaviolence is enshrined in the presidency, the show’s familiar message sounds suddenly, sadly, much less quaint. This twoday benefit reading at Sonorous Road features many actors associated with the Women’s Theatre Festival. Ninety percent of the proceeds go to InterAct, a nonprofit working against domestic and sexual violence, while the rest goes back to the national V-Day campaign, which uses Ensler’s production to raise funds and awareness to combat violence against women. —Brian Howe SONOROUS ROAD THEATRE, RALEIGH 7:30 p.m., $12–$20, www.v-day-raleigh.ticketleap.com

22 | 2.22.17 | INDYweek.com

MUSIC

FRIDAY, FEBRUARY 24 & SATURDAY, FEBRUARY 25

WKNC’S DOUBLE BARREL BENEFIT XIV

For the past fifty years, N.C. State’s WKNC-88.1 FM has been pushing out tunes across the Triangle over its airwaves. The student-run station has long been one of the area’s strongest supporters of local and independent music, and once a year it asks the community for a bit of support in return. That support is manifested in the Double Barrel Benefit, now in its fourteenth year, which is the biggest annual fundraiser for the station. Night one leans toward boisterous, dance-friendly fun, with sets from Durham rapper Ace Henderson, Raleigh’s stunning ZenSoFly, the dense electronica of Sand Pact, and DJ PayPal. Saturday’s offerings are a little more varied, with the raucous honky-tonk rock of Sarah Shook and the Disarmers sitting atop a bill that includes the surfy pop-rock of See Gulls, Infinity Crush’s gentle folkpop, and Astro Cowboy’s fuzzy lo-fi rock. —Allison Hussey KINGS, RALEIGH 8:30 p.m., $12–$20, www.kingsraleigh.com

STAGE

FRIDAY, FEBRUARY 24 & SATURDAY, FEBRUARY 25

MALPASO DANCE COMPANY & ARTURO O’FARRILL’S AFRO LATIN JAZZ ENSEMBLE

Dance is quickly evolving in Cuba. Though the técnica cubana developed out of Spanish and African folk forms, ballet and early American modern dance in the 1950s is still celebrated in the island’s larger companies. Over the past five years, artists including choreographer Osnel Delgado and dancer Dailedys Carrazana have left state-supported sinecures to explore new ideas on their own. That’s actually how their Malpaso Dance Company got its name: though friends worried that leaving their funded soloist positions might be a professional malpaso, or misstep, glowing reviews from The New York Times and others soon proved otherwise. Dreaming of Lions, which has its U.S. premiere at Duke Performances, is Delgado’s choreographic adaptation of Hemingway’s The Old Man and the Sea; in its American premiere, Arturo O’Farrill’s Grammy-winning Afro Latin Jazz Ensemble will perform live with ten dancers. —Byron Woods REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $10–$42, www.dukeperformances.duke.edu

Arturo O’Farrill and Malpaso Dance Company

MUSIC

PHOTO COURTESY OF DUKE PERFORMANCES

SATURDAY, FEBRUARY 25

RAUND HAUS’S ONE YEAR ANNIVERSARY PARTY

Around this time last year, a group of experimental beatmakers transformed The Shed, Golden Belt’s modest space for jazz music, into a trippy bunker thundering with instrumental hip-hop and strands of dance funk. The collective called itself Raund Haus, and its subsequent showcases almost immediately filled the head-nod void left by Party Illegal’s monthly inclination toward more seamless EDM party vibes. Since then, Raund Haus has taken strides toward becoming its own institution, similar to what the Low End Theory beat club in L.A. has accomplished. Last May, Raund Haus self-released a limitededition cassette tape titled RH-001, which included its core members and affiliates. In November, it booked its first out-of-town act, Baltimore’s Tek.Lun. Earlier this month, Raund Haus announced that it had become a full-fledged record label with a distribution deal through Redeye Worldwide. Its first release, Trandle’s hi key low key, is scheduled to drop the day before this first-year anniversary party in the Bull City’s beat bunker. —Eric Tullis Sarah Shook FILE

PHOTO BY BEN MCKEOWN

THE SHED, DURHAM 9 p.m., $5, www.shedjazz.com

WHAT ELSE SHOULD I DO?

NINA CHANEL ABNEY AT THE NASHER (P. 18), BLUE CACTUS AT CAT’S CRADLE BACK ROOM (P. 14), BRIGHT HALF LIFE AT MANBITES DOG THEATER (P. 21), MICHELLE DOVE AT CAM RALEIGH (P. 32), ECHO AT 21C MUSEUM HOTEL (P. 20), LOWLAND HUM AT THE PINHOOK (P. 25), NIGHT OF THE HUNTER AT SHADOWBOX STUDIO (P. 32), SATURDAY MORNING CARTOONS AT NCMA (P. 29), JERRON PAXTON, DOM FLEMONS, AND KAIA KATER AT FLETCHER OPERA THEATER (P. 16), SHOVELS AND ROPE AT THE RITZ (P. 27), WHAT YOU WANT AT THE LIVING ARTS COLLECTIVE (P. 31) INDYweek.com | 2.22.17 | 23

2/24 NRBQ W/ TERRY ANDERSON AND THE O.A.K. TEAM ($25) 2/25 VEGABONDS W/ ATLAS ROAD CREW, LEFT ON FRANKLIN, BAKED GOODS, WILL OVERMAN BAND ($5/$10) 2/26 NIKKI LANE

HIGHWAY QUEEN TOUR

W/ BRENT COBB & JONATHAN TYLER ($15/$17) 2/28 THE ENGLISH BEAT W/ ELUSIVE GROOVE ($18/$20) 3/1 JAPANDROIDS W/ CRAIG FINN ($20/$23) 3/2 THE GROWLERS ($20) 3/3 CEDAR RIDGE BATTLE OF THE BANDS 3/6 COLONY HOUSE W/ DEEP SEA DIVER ($12/$15) 3/9 TIM O'BRIEN SEATED SHOW ($22/$25) 3/10 ELECTRIC GUEST W/ CHAOS CHAOS ($12/$14)

FR 2/24

NRBQ WE 3/1

JAPANDROIDS SU 2/26 CAT'S CRADLE BACK ROOM 2/22 EISLEY W/ CIVILAIN, BACKWARDS DANCER ($15)

SOLD

2/23 THE GRISWOLDS OUT W/ DREAMERS AND GHOSTT BLLONDE 2/24 PENNY & SPARROW SOLD W/ COREY KILGANNON OUT 2/25 BLUE CACTUS ALBUM RELEASE SHOW W/ NICK VANDENBERG AND MOLLY SARLÉ ($10) 2/26 KEVIN GARRETT THE FALSE HOPE TOUR W/ ARIZONA ($12/$15) 3/1 JESCA HOOP

3/12 SENSES FAIL W/ COUNTERPARTS, MOVEMENTS, LIKE PACIFIC ($15/$18)

3/3 FRONT COUNTRY W/ BIG FAT GAP ($10/$12)

3/17 TORTOISE W/ TARA JANE O'NEIL ($15)

3/4 ALEX DEZEN (OF DAMNWELLS) AND HIS BAND ($10/$12)

3/18 MARTIN SEXTON** W/ BROTHERS MCCANN ($25/$29)

3/5 ALL THEM WITCHES W/ IRATA ( $12/$14)

3/23 SOHN** W/ WILLIAM DOYLE ($17/$20) SOLD 3/24 JOHNNYSWIM OUT

3/7 MOOSE BLOOD OUT W/ TROPHY EYES, BOSTON MANOR, A WILL AWAY

3/25 HIPPO CAMPUS W/MAGIC CITY HIPPIES ($13/$15) 3/28 THE MENZINGERS W/ JEFF ROSENSTOCK, ROZWELL KID ($17/$20) 3/29 COREY SMITH W/ JACOB POWELL ($20) 4/1 DINOSAUR JR W/ EASY ACTION ($25) 4/2 LAMBCHOP W/ XYLOURIS WHITE ($15) 4/7 CARBON LEAF W/ ME AND MY BROTHER ($16/$20) 4/8 DIRTY BOURBON RIVER SHOW AND ELLIS DYSON & THE SHAMBLES ($10/$12) 4/11 WHY? W/ ESKIMEAUX ($16/$18) 4/15 MIKE POSNER AND THE LEGENDARY MIKE POSNER BAND ($20/$24) 4/17 CASHMERE CAT ($17/$20) 4/18 CHRONIXX W/ KELISSA, MAX GLAZER ($22.50/$25) 4/20 FOXYGEN ( $18/$20) 4/21 JUMP, LIT TLE CHILDREN

SOLD OUT

4/23 THE STEELDRIVERS ($28/$35) 4/24 AN EVENING WITH NOAH & ABBY GUNDERSEN ($16/$18) 4/25 PARACHUTE W/ KRIS ALLEN ($18/$20)

NIKKI LANE HIGHWAY QUEEN TOUR

SOLD

3/8 MAJOR AND THE MONBACKS 3/9 KINGS PRESENTS ET ANDERSON W/ DEN-MATE, THE SEA LIFE, FOXTURE ($12) 3/10 TIM DARCY (OF OUGHT) W/ MOLLY BURCH ($10/$12) 3/11 MEGA COLLOSSUS W/ THE BEGGARS, RUSCHA ($8) 3/12 JULIA W/ LYRA, GRAYSCALE WHALE ($5) 3/17 DARK WATER RISING W/ORLANDO PARKER JR, OG MERGE ($8/$10)

TU 2/28

THE ENGLISH BEAT 5/23 DEAD MAN WINTER (FEAT. DAVE SIMONETT OF TRAMPLED BY TURTLES) 5/24 TOBIN SPROUT W/ ELF POWER ($13/$15) 6/7 GRIFFIN HOUSE ($20/$23) 6/9 JONATHAN BYRD

6/17 BARNS COURTNEY ($14/$16) ARTSCENTER (CARRBORO) 3/2 KT TUNSTALL W/ KELVIN JONES ($25) 5/14 ROBYN HITCHCOCK ** ($20/$23) PINHOOK (DURHAM) 2/24 SAVOY MOTEL W/ DRAG SOUNDS 4/24 MATTHEW LOGAN VASQUEZ (OF DELTA SPIRIT) $13/$15 KINGS (RAL) 5/3 ANDY SHAUF W/ JULIA JACKLIN ($13/$15) RED HAT AMPH. (RAL) 5/14 THE

3/21 NYLON MUSIC TOUR PRESENTS POWERS & BRIDGIT MENDLER ($16/$18)

CAROLINA THEATRE (DUR)

3/22 THE JAPANESE HOUSE W/BLAISE MOORE ($15/$18)

3/7 VALERIE JUNE 3/20 THE ZOMBIES 'ODESSEY AND ORACLE' 50 YEAR TOUR

3/23 SABA W/ SYLVAN LACUE ($15/$18) 3/24 THE FAUX HAWKS THE CINNAMON GIRLS, "SEQUEL TO ZIGGY STARDUST" LISTENING PARTY 3/25 REBEKAH TODD & THE ODDYSSEY W/ LAURA REED BAND 3/29 CHERRY GLAZERR W/LALA LALA AND IAN SWEET ($13/$15) 4/2 CARRIE ELKIN W/ DANNY SCHMIDT 4/13 MATT PRYOR AND DAN ANDRIANO ($13/$15) 4/14 KAWEHI ($12/$15)

4/14 WELCOME TO NIGHT VALE W/ERIN MCKEOWN THE RITZ (RAL) (TICKETS VIA TICKETMASTER)

2/23 SHOVELS & ROPE W/ JOHN MORELAND ($23/$25) 5/1 THE NEW PORNOGRAPHERS W/ WAXAHATCHEE ($30) NC MUSEUM OF ART (RAL) 5/6 MIPSO W/ RIVER WHYLESS 6/5 FOUR VOICES: JOAN BAEZ, MARY CHAPIN CARPENTER & INDIGO GIRLS AMY RAY & EMILY SALIERS (ON SALE 2/24)

4/26 DOPAPOD ($13/$15)

4/15 DIET CIG W/ DADDY ISSUES ($10)

4/28 SOMO (ON SALE 2/24) 5/5 ADRIAN BELEW POWER TRIO W/ SAUL ZONANA ($26/$30)

4/17 SALLIE FORD W/ MOLLY BURCH ($10/$12)

6/18 JASON ISBELL AND THE 400 UNIT

4/18 SWEET SPIRIT ($10/$12)

5/10 SLOWDIVE ($36/$39)

4/19 ACID MOTHERS TEMPLE W/ BABYLON ($10/$12)

7/22 MANDOLIN ORANGE W/ JOE PUG

5/14 SARA WATKINS SEATED SHOW ($18/$22)

4/27 THE WILD REEDS W/ BLANK RANGE ($12/$14)

5/16 WHITNEY W/ NATALIE PRASS ($16)

4/28 SARAH SHOOK & THE DISARMERS ($10/$12)

5/17 NEW FOUND GLORY W/ TRASH BOAT ($22/$26)

4/30 SEAN ROWE W/FAYE WEBSTER 5/2 SWEET CRUDE W/ MOTEL RADIO ($10)

5/19 PERFUME GENIUS W/ SERPENTWITHFEET ($17/$19) 5/20 SAY ANYTHING / BAYSIDE W/ HOT ROD CIRCUIT ($20/$23) 6/6 THE ORWELLS ($18/$20)

5/3 CLAP YOUR HANDS SAY YEAH W/ LAURA GIBSON ($16) 5/8 THE BESNARD LAKES W/ THE LIFE AND TIMES ($12)

6/13 KALEO

7/31BELLE AND SEBASTIAN AND ANDREW BIRD (ON SALE 2/24 HAW RIVER BALLROOM 3/6 COLD WAR KIDS W/ MIDDLE KIDS ($25/$27) SOLD 3/11 SON VOLT OUT W/JOHNNY IRION 4/1 PATRICK WATSON ($20/$22) DPAC (DURHAM 4/20, 21 STEVE MARTIN AND MARTIN SHORT WITH STEEP CANYON RANGERS

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

**Asterisks denote advance tickets @ schoolkids records in raleigh & chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club 24 | 2.22.17 | INDYweek.com

music

2.22–3.1

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB) Grant Britt (GB), Elizabeth Byrum (EGB), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), Desiré Moses (DM), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

WED, FEB 22 THE ARTSCENTER: Banda Magda; 7:30 p.m., $12–$15. • BLUE NOTE GRILL: Clark Stern & Chuck Cotton; 8 p.m. Blue Wednesday; 8 p.m. • CAT’S CRADLE (BACK ROOM): Eisley, Civilian And Backwards Dancer; 8 p.m., $15. • THE CAVE: The Paul Swest, Mac McCaughn, Mark Dauman, Sam MillerFinkel, Charles Chace; 8 p.m., $5. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: The String Peddlers; 6:30 p.m. • LOCAL 506: WVRM, Seeker, Cognitive, Suppressive Fire, Oxidant; 8 p.m., $12–$14. • MOTORCO: Lemuria, Cayetana, Mikey Erg; 8 p.m., $13–$15. • NEPTUNES PARLOUR: Free Improvised Music Series: James Gilmore; Feb 22, 8:30 p.m., $5–$10. • NIGHTLIGHT: Palberta, Fitness Womxn, Wild Actions; 9:30 p.m., $7. • THE PINHOOK: Dope Knife, OC from NC, B Square; 9 p.m., $5. • POUR HOUSE: That 1 Guy, Barefoot Wade, The Infamous Sugar; 9 p.m., $12–$15.

THU, FEB 23 Ar-Kaics GARAGE A quick Google PUNX search reveals that Richmond’s Ar-Kaics have not started a side project with Ty Segall, a heroic feat for any garage punk band by now. Greasy and technical in the proper doses, the band’s spin on sixties fuzz-pop is weapons-grade, melodic, and a lot of fun, even if skill in this musical corner isn’t especially hard to come by in 2017. Paint Fumes had to drop off the bill, but Cold Cream, a new project from Montgomery Morris, Laura King, and friends, opens. —DS [NIGHTLIGHT, $8/9:30 P.M.]

Robert Ellis TEXAS On his recent TUNES eponymous LP, Texan singer-songwriter Robert Ellis embraces an introspective adult sensibility that reflects his musical heroes like John Prine and solo Paul Simon. The record is

lush and it goes down easy, but it carries the emotional weight of the breakup that inspired it. With Courtney Hartman, a lauded guitar player and songwriter. —DK [MOTORCO, $12-$15/8 P.M.]

LOLO PIPES & After finding SOUL success on Broadway, Lauren Pritchard, aka LOLO, returned to her Southern roots to discover her authentic self. LOLO’s 2016 debut album is filled with a mix of Southern soul and bright pop, and her powerful vocals shine brightly throughout. Ocean Park Standoff, the new project from Samantha Ronson, opens. —EGB [LOCAL 506, $12/9 P.M.]

Louis the Child SPOTIFY As regular as ADCORE Mercury in retrograde, a new future bass EDM duo comes along every few months to collect buzzy guest vocalists like Pokémon on industry-seeded tracks and make armloads of money by playing underwhelming remixes to enthusiastic college kids. Chicago’s Louis the Child has songs with Icona Pop, K Flay, and Elohim, and makes the sort of faceless Majestic Casual EDM that’s hard to hate, or love, or feel any strong emotion about. With Imad Royal and Manila Killa. —DS [LINCOLN THEATRE, $18–$65/8 P.M.]

Thelma and the Sleaze SULTRY It’s always cool SOUNDS when a band’s name aligns with its sound, or when its visual aesthetic matches the aural aesthetic. Thelma and the Sleaze have both those bases covered. “Maria,” the single from the band’s most recent EP, features a nasty, trebly guitar riff, overlaid by cool, sultry vocals; accordingly, the music video is shot on VHS and features bare butts and fishnet stockings. With Drag Sounds. —NR [KINGS, $10/9:30 P.M.]

Palberta WEIRDO The bard pop experiPOP mentalists in Palberta delight in chaos. The band’s new LP, the gleefully strange Bye Bye Berta, features twenty songs that strafe between sub-two-minute blasts of messy guitar shrapnel, blown-out primitive synth work, percussive exorcisms, and dizzying vocal acrobatics. It might be too offbeat for your emo-revival-loving friends, yet you would be hard-pressed to find a stronger, more idiosyncratic northeastern DIY band doing it right now. With Zomes, Drozy, and Chucha. —DS [NEPTUNES, $8–$10/10 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • CARRBORO CENTURY CENTER: Holland Brothers; noon. • CAROLINA THEATRE: Tommy Emmanuel, Joe Robinson; 8 p.m., $37–$106. • CAT’S CRADLE: The Griswolds, Dreamers, Ghostt Blonde; 8 p.m. • IRREGARDLESS: Brad Vickers & His Vestapolitans; 6 p.m. • THE PINHOOK: Lowland Hum, The Joe Bells; 9 p.m., $10–$12. See box, page 25. • POUR HOUSE: Old Quarter, The Vagabonds, Shelles; 9:30 p.m., $3–$5. • THE RITZ: Shovels & Rope, John Moreland; 8 p.m., $23. See box, page 27. • RUBY DELUXE: *not cool, SPCLGST; 10 p.m. • THE STATION: Onyx Club Boys; 9 p.m., free. • UNC’S HISTORIC PLAYMAKERS THEATRE: Shaina Lynn; 7:30 p.m.

FRI, FEB 24 Johnny Cash Birthday Bash FAN IN There will never be BLACK another Johnny Cash, but for a heartfelt tribute that channels the man both in sound and spirit, you can’t beat the Johnny Folsom 4. Led by the mighty bass-baritone vocals of David Burney, the quartet serves up the Cash classics in celebration of what would have been the Man in Black’s eighty-fifth birthday. —DK [HAW RIVER BALLROOM, $12–$15/8 P.M.]

PHOTO BY ERIC KELLEY

THURSDAY, FEBRUARY 23

LOWLAND HUM

Between the self-applied genre of “hush folk” and the very name of the band itself, Charlottesville-via-Greensboro duo Lowland Hum does a rather spot-on job of letting listeners know what to expect before hearing a single note of its music. The gorgeous voices and gentle harmonies of Lauren and Daniel Goans confer a quiet tranquility upon their collaborative songwriting, which often culls influences from both the natural world and spiritual themes for poetic lyricism. It’s the kind of placid and ruminative sound that can fade into the background just as easily as it can jolt an attentive listener through an expertly crafted metaphor. It wouldn’t be altogether silly to deride the title of the couple’s third and most recent fulllength, Thin, as an inadvertent indicator of the album’s staying power, which, at least initially, seems relatively meager. But repeated listens— along with the Goans’s recent illuminating track-by-track breakdown of the album for NPR—reveals an album rife with vulnerable confessions beneath its calm exterior. “Hold tight to what I think I know about redemption/Lord, kill this phantom, swinging, gaping hole sensation,” Lauren softly sings on “Family Tree,” while a nonlexical vocal volleys back and forth over a repetitive guitar line and accents of piano. “Someone to Change My Mind” similarly employs simple guitar beneath

Daniel’s stark confession that “I walked one Saturday hoping to find someone to change my mind/prove I’m one of a kind.” He delivers the line in a soothing tone before the song breaks into a stomp for the psyched-out coda, in which Lauren wildly cries out a refrain of “love me.” Aside from the final minute, the album’s title also alludes to the record’s sparse instrumentation; rather than the more fleshedout studio arrangements of the band’s previous releases, Thin relies primarily on the pair’s vocals with subtle support from guitar and percussion. Tracked in the Goans’s attic, the songs are so calm that the calls of cicadas and birds make unintentional guest appearances on a few tunes. Thin is the kind of record that’s better heard on a lazy Sunday morning than in a noisy rock club, but Lowland Hum’s disarming honesty may be enough to suppress the crowd murmurs and allow its virtues to shine. Opening the show is a stellar one-off squad of local all-stars: Skylar Gudasz, Josh Moore, Jeff Crawford, and Casey Toll, performing material from Gudasz, Moore, and Crawford as The Joe Bells. —Spencer Griffith THE PINHOOK, DURHAM 9 p.m., $10–$12, www.thepinhook.com

Your week. Every Wednesday. ARTS•NEWS•FOOD•MUSIC INDYWEEK.COM

INDYweek.com | 2.22.17 | 25

Konvoi

Pie Face Girls

PUNK Boone’s Konvoi POWER offers a smart and ambitious spin on punk that’s still packed with physical power. One of its best tricks is its ability to turn atonal tension into melody, punctuated when vocalist Sean Bos leaps from blasé monotone to bilious shouts over jagged guitar lines and a rock-solid rhythm section. With Magician’s Hand Practice, Night Sweats, and Shallows. —PW [SLIM’S, $5/9 P.M.]

NOT JUST Punk rock scenes can PRETTY easily end up jock rock scenes, as aggressively masculine behaviors are celebrated (often to the exclusion of anyone who’s not a straight dude), even while criticizing “the establishment.” This makes bands like Pie Face Girls all the more refreshing and vital. Pie Face Girls celebrate themselves with shout-sung lines like, “What we do is not for you,” (from “Washed Up”) and “Fuck you, I’m pretty.” If you don’t dig the band’s new Formative Years, they’ll be perfectly content without your approval. With DJ DNLTMS. —NR [RUBY DELUXE, 9 P.M.]

NRBQ SKEWED NRBQ’s quirky ROCK musical filter paints covers that range from Sun Ra’s “We Travel the Spaceways” to Johnny Cash’s “Get Rhythm” with a brush dipped in gutbucket rock and slung at grateful audiences for five decades. Singer and keyboardist Terry Evans is the only original member left, but the band’s skewed take on country, jazz, pop, rockabilly, and blues still shakes, rattles, and rolls unabated. —GB [CAT’S CRADLE, $25–$28/8 P.M.]

Savoy Motel LITE FUNK A Nashville-based four-piece featuring an appealing weird throwback vibe and an off-kilter rhythmic sensibility, Savoy Motel sticks to an unhurried mid-tempo groove that situates the band someplace between the creepy white-boy funk of the Doobie Brothers and the elegantly debauched erstatz disco of Emotional Rescue-era

Stones. While a weakness for kitsch occasionally threatens to undermine the songs, the in-the-red skronk of guitarists Mimi Galbierz and Dillon Watson keeps matters from devolving into unrepentant silliness. Drag Sounds open. —TB [THE PINHOOK, $10–$12/9 P.M.]

VOLUME 20.5: Nicole Misha & Julion De’Angelo BACK After a long tenure in AGAIN local dance culture, Nicole Misha and Julion De’Angelo left the Triangle for the greener pastures of Detroit. For one night this week, they’re back on their home turf of Nightlight to properly revive their noise. The jams promise to come fast and heavy, so don’t miss out. —DS [NIGHTLIGHT, $8/10 P.M.] ALSO ON FRIDAY 618 BISTRO: Randy Reed; 7-9:30 p.m. • ARCANA: One Track Mind; 10 p.m. • BEYÙ CAFFÈ: Christie Dashiell; 7 & 10 p.m., $15. • BLUE NOTE GRILL: Tan and Sober Gentlemen; 9 p.m. Duke Street Dogs; 6-8 p.m., free. • THE CAVE: Kitty Box

WE 2/22 2/232/25 SU 2/26 ONE SONG PRODUCTIONS PRESENTS: TU 2/28 WE 3/1 TH 3/2 FR 3/3 SU 3/5 3/103/11 SA 3/11 SU 3/12 SA 3/12 3/173/18 SA 3/25

AN EVENING WITH BANDA MAGDA NC COMEDY ARTS FESTIVAL FEB 48 BALLAKÉ SISSOKO & VINCENT SÉGAL BIG BAND NIGHT W/ THE TRIANGLE JAZZ ORCHESTRA KT TUNSTALL W/KELVIN JONES

WE 2/22 PRIMITIVE WAYS, WE TO 2/22 LIVE A LIE RECORDS, AND PRIMITIVE W AYS, 506 TO LIVE A LIE R: ECORDS AND/LSEEKER OCAL 506 PRESENT LOCAL PRESENT WVRM

WVRM / SEEKER

Cognitive / Suppressive Fire / Oxidant

(PRESENTED BY CAT’S CRADLE)

TRANSACTORS IMPROV THE GROOVE IS NOT TRIVIAL (FILM SCREENING)

TWO MONTHS IN AN ORIGINAL SKETCH COMEDY REVUE PRESENTED BY METTLESOME TRANSACTORS IMPROV: FOR FAMILIES! GARY STROUTSOS ALASDAIR FRASER & NATALIE HAAS TWO MONTHS IN AN ORIGINAL SKETCH

COGNITIVE / SUPRESSIVE FIRE / OXIDANT

TH 2/23 FR 2/24 SA 2/25 SU 2/26

NO SHAME THEATRE - CARRBORO

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SU 2/26

HAIL THE SUN / DAYSEEKER / GHOST KEY MO 2/27

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Jason Richardson / Covet SILENT PLANET / Hail the Sun / Dayseeker / Ghost Key

SILENT PLANET

COMEDY REVUE PRESENTED BY METTLESOME

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LOLO / Ocean Park Standoff NC COMEDY ARTS FESTIVAL CRANK IT LOUD PRESENTS: POLYPHIA

TU 2/28

RON GALLO / Drag Sounds / Secretary Pool LEOPOLD AND HIS FICTION The Howling Tounges / Time Sawyer COMING SOON:

CROCODILES, CHICANO BATMAN, THE SECOND 506 BAND LOTTERY, CORY BRANAN

www.LOCAL506.com

& the Johnnys: The Chatham County Luau; 9 p.m. • IRREGARDLESS: Elmer Gibson; 6:30 p.m. • KINGS: Double Barrel Benefit 14; 8:30 p.m., $12– $20. See page 23. • THE KRAKEN: Southern Blend Blues Band; 8 p.m. • THE MAYWOOD: Attracting the Fall, Illusory, Divine Treachery, Scars of the Forsaken; 8:30 p.m., $8. • MEYMANDI CONCERT HALL: Ives Symphony No. 2; noon, $28. Don Flemons, Kaia Kater, Jerron “Blind Boy” Paxton; 8 p.m., $12–$32. See page 16. • MOTORCO: Flamenco Vivo Carlota Santana; 8 p.m. • PITTSBORO ROADHOUSE: Steve Hartsoe; 8 p.m. • POUR HOUSE: Psylo, Funk You; 9 p.m., $5–$7. • SHARP NINE GALLERY: Peter Bernstein, Steve Haines; 8 p.m., $20–$40. • THE SHED JAZZ CLUB: Atticus Reynolds Quartet, Naomi Moon Siegel; 8 p.m. • THE VAULT AT THE PALACE INTERNATIONAL: Lady Moon & The Eclipse; 7 p.m., $10. • UNC’S HISTORIC PLAYMAKERS THEATRE: Shaina Lynn; 8 p.m. See Feb. 23 listing. • UNITED CHURCH OF CHAPEL HILL: Alexander Anderson; 7:30 p.m.

SAT, FEB 25 Cherub NOT AS A good-timey CUTE electro-pop duo hailing from Nashville, this aggressively ingratiating R&B miasma features Jordan Kelley and Jason Huber as dual frontmen. They seem to be locked in a bare-knuckles struggle to utter the skeeziest come-on line possible. The group courted full-scale notoriety with its 2014 YouTube smash “Doses and Mimosas,” and that song’s aura of lightly depressing, anything-goes permissiveness permeates the bulk of Cherub’s faint-hearted dance-floor funk. The Floozies open. —EB [THE RITZ, $20/8 P.M.]

Ro James R&B The popularity of REVIVAL R&B has fluctuated since the nineties, but with a sound reminiscent of neo soul, Ro James lays down smooth vocals mixed with modern production that could help revive a genre that has pancaked for the better part of a decade. James comes to Raleigh

to showcase his debut album, Eldorado, which features the critically acclaimed single “Permission.” St. Beauty and Major Myjah perform also. —CM [POUR HOUSE, $25–$75/9 P.M.]

Last Band Standing SING OFF Art need not be a competitive sport, except in cases like this, when the aim is to help Triangle nonprofits. Vying for a hefty purse and an opening slot in an upcoming Band Together concert that features Ben Folds as its headliner are Asheville’s twin-bro-led Travis Brothership, soulful songwriter Cris Jacobs, and genre-bending acoustic ensemble the Jon Stickley Trio. —DK [LINCOLN THEATRE, $10–$65/7:30 P.M.]

Samedi Gras MARDI Contributing yet PARTY another wrinkle to the tradition’s endless opportunities for spirited live music and good-natured debauchery, this celebration of the first Saturday of Mardi Gras includes performances by Raleigh’s party-down funk bros

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

THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS THIS

PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER PAPER

Chit Nasty Band and the soulfully voiced country and R&B stalwart Rissi Palmer. —TB [THE PINHOOK, $10/8 P.M.]

Vegabonds

PHOTO COURTESY OF HIGH ROAD TOURING

THURSDAY, FEBRUARY 23

SHOVELS & ROPE Cary Ann Hearst and Michael Trent have grappled with a lot of changes over the past year. The wife-and-husband duo had their first child, faced the onset of Alzheimer’s disease in Trent’s father, and dealt with the loss of a friend. As the roots powerhouse Shovels & Rope, the pair channeled these life-altering experiences into their art, and the result was 2016’s Little Seeds, their most raucous and personal album yet. The circle of life is a recurrent theme throughout the record, as the track progression takes the listener from birth to death and back to birth in the album’s finale, “This Ride.” The song is an ode to their late friend and features a recorded clip in which the friend recounts how he was born in the back of a police car. The album’s opening mirrors the closer, taking on the intricacies of birth. The project’s title, Little Seeds, comes from a lyric in the rousing second track, “Botched Execution,” which follows a convicted killer on the run. Spitting out lyrics as fast as they can in what sounds like an attempt to keep up with their fugitive, Hearst and Trent reach the song’s apex when they chant “All my little seeds have grown.” While they may be alluding to the song’s

protagonist, the line can just as easily serve as a metaphor for the growth of their child. Elsewhere, on “Invisible Man,” a trippy melodic tune sung in unison, the duo calls out, “Is there anybody out there who can give me a voice/I hate to repeat it but it’s not my choice,” as they allude to symptoms of Alzheimer’s they witnessed with Trent’s father. Another tribute to him, “Mourning Song,” is an acoustic folk ballad with piano inflections. The album’s heaviest moment comes with “BWYR,” a spoken-word track that calls for peace and unity in the wake of the 2015 massacre at Emanuel AME Church in Charleston that took the lives of nine people. The title stands for “Black White Yellow Red,” and the couple urges “Black lives, white lives, yellow lives, red” to come together. By expanding on their signature rollicking sound, Hearst and Trent have hit their stride, bringing a depth and rawness to life’s most striking moments. —Desiré Moses THE RITZ, RALEIGH 8 p.m., $23, www.ritzraleigh.com

ment and anthems that celebrate staying unabashedly true to who you are, Lane solidifies her place in take-no-prisoners roots rock. Brent Cobb and Jonathan Tyler open. —DEM [CAT’S CRADLE, $15–$45/8 P.M.]

LOTS OF A rootsy Nashville TWANG five-piece with craft to spare and a knack for an indelible hooks, the Vegabonds layer their appealing hard-luck confessionals with twangy harmonies, tasteful pedal steel, and enough down-home signifiers to suggest Jason Isbell at his most mannered or Brad Paisley at his most unhinged. Atlas Road Crew, Left on Franklin, Baked Goods, and Will Overman Band open. —EB [CAT’S CRADLE, $5–$10/8:15 P.M.]

STAY Hip-hop is a tough JUICY genre to stay relevant in, but Juicy J has been able to do it for almost thirty years. From pioneering Southern hip-hop with Three Six Mafia in 1991 to winning an Academy Award in 2006 and, more recently, working with the likes of A$AP Mob, Juicy is an unstoppable rap force. —CM [THE RITZ, $25–$35/8 P.M.]

ALSO ON SATURDAY

ALSO ON SUNDAY

ARCANA: Pajama Pop Party; 9 p.m. • BERKELEY CAFÉ: Orlando Parker Jr; 8 p.m. • BEYÙ CAFFÈ: Calvin Edwards Trio; 7 & 10 p.m., $10. • BLUE NOTE GRILL: The Willie Painter Band; 8 p.m., $8. • CAT’S CRADLE: Blue Cactus, Nick Vandenberg, Molly Sarlé; 9 p.m., $10–$12. See page 14. • THE CAVE: Konvoi, Shallows, Essex//Muro, Modern Apologies; 9 p.m., $7. • CHURCH OF THE GOOD SHEPHERD: BEDLAM; 8 p.m., $15–$20. • IRREGARDLESS: Bo Lankenau; 11:30 am. Tryad; 6 p.m. Zen Groove Funkestra; 9 p.m. • KINGS: Double Barrel Benefit 14; 8:30 p.m., $12–$20. See page 23. • THE KRAKEN: Lee Gildersleeve and the Bad Dogs; 8 p.m. • LOCAL 506: Polyphia, Jason Richardson, Covet; 7 p.m., $12–$15. • THE MAYWOOD: Saliva, Sixlight; 8 p.m., $15–$21. • MOTORCO: Flamenco Vivo Carlota Santana; 2 & 8 p.m. • NIGHTLIGHT: Make Dance Break Dance; 9 p.m., $5. • RUBY DELUXE: DJ Luxeposh; 10 p.m. • SHARP NINE GALLERY: Peter Bernstein, Steve Haines; 8 p.m., $20–$40. • SLIM’S: Datura, Vesterian, Murdersome, Chateau; 8:30 p.m., $7. • THE STATION: American Empire, Mortal Man; 8 p.m., $7. Jazz Saturdays; 2 p.m., free. • THE SHED JAZZ CLUB: Raund Haus One Year Anniversary; 9 p.m., $5. See page 23.

ARCANA: Ryan Baxter; 7 p.m., free. • BLUE NOTE GRILL: Doc Branch Band; 5 p.m. • CAT’S CRADLE: Kevin Garrett, Arizona; 8 p.m., $12–$15. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • DUKE’S BALDWIN AUDITORIUM: Choral Society of Durham; 4 p.m., $5–$22. • FIVE OAKS CLUBHOUSE: Gary Louris; 4 p.m., $20–$25. • IRREGARDLESS: Larry Hutcherson; 10 a.m. Matt Walsh; 6 p.m. • LINCOLN THEATRE: Joe Hero, Amuse; 7:30 p.m., $8–$10. • LOCAL 506: Silent Planet, Hail the Sun, Dayseeker, Ghost Key; 7 p.m., $13–$15. • MOTORCO: Flamenco Vivo Carlota Santana; 4 p.m. • NC MUSEUM OF HISTORY: Dwight Hawkins and the Piedmont Highballers; 3 p.m. • THE PINHOOK: Hotline, P.A.T. Junior, Trandle; 9 p.m., $8. • POUR HOUSE: Squall, Bardus, Grizzlor, Slime; 8:30 p.m. • SLIM’S: Magma Opus, Deltoid, Thick Modine; 8 p.m., $5. • UNC’S HILL HALL: Nicholas DiEugenio, Mimi Solomon; 3 p.m., $10–$15. • WEST END WINE BAR-DURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

SUN, FEB 26 Nikki Lane OUTLAW The Nashville-byLADY way-of South-Carolina outlaw Nikki Lane is on the road in support of her new record, Highway Queen. This fiery batch of tunes delivers more of the sass and country twang that brought the singer-songwriter to the forefront with her last release. With themes of female empower-

Juicy J

MON, FEB 27 Ron Gallo GARAGE Ron Gallo’s succinct ROCK noise symphonies and feral yelp suggest everything from the art-damaged psych-rock of Roky Erickson to the cool menace of The Cramps to the next-level poetic tantrums of Easter-era Patti Smith. He’s a literate and frequently lacerating rocker with a head full of interesting ideas. Drag Sounds open. —TB [LOCAL 506, $10–$12/9 P.M.] .

Pete RG SUPER A Los Angeles MELLOW singer-songwriter and former frontman of the indie-esque outfit Last December, Peter Argyropoulos tends to warble his platitude-filled ruminations on life-and-love in a vaguely affected, low-register rumble. He’s a good option for those who find Christian rock a little too unsettling. —TB [POUR HOUSE, $5/9 P.M.]

Secretary FLUID Durham’s Secretary JAMS is not content to be a nondescript rock or pop band. In a single EP, the group moves from a song of almost purely synthetic instrumentation to a folksy, acoustic number. In a single track, it flows from a repetitive, minimalist guitar riff that recalls The xx to a vast, sprawling chorus in the vein of Fleetwood Mac, creating intricate, fluid music. With Big Spider’s Back. —NR [THE PINHOOK, $7/9 P.M.] ALSO ON MONDAY RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, FEB 28 The Body BODY VS. Portland doom WORLD deconstructionists The Body seem to thrive on confrontation, meeting it with a counterpunch of misanthropy. The band’s music is a punishing mix of sludgy guitar, harsh noise, power electronics, brutally slow tempos, and shrieking vocals; in press photos, guitarist-singer Chip King and drummer Lee Buford have brandished automatic weapons, some of which also grace the gatefold sleeve of the band’s second record, All the Waters of the Earth Turn to Blood. The duo has always pushed to find new ways to physically express that odium, and it hit a creative peak with last year’s excellent No One Deserves Happiness. MAKE and The Hem of His Garment open. —PW [NIGHTLIGHT, $10/9 P.M.]

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SKA Surfing the second LIFERS wave of ska in 1979, guitarists Dave Wakeling and Andy Cox, bassist David Steele, drummer Everett Morton, toaster Ranking Roger, and Saxa on saxophone mergedJamaican rhythms with a post-punk edge. Soulful and still a little dangerous, the English Beat goes on and on. —GB [CAT’S CRADLE, $18–$20/9 P.M.]

Ballaké Sissoko, Vincent Segal GLOBAL A longstanding GLORY cross-cultural collaboration between the decorated Malian kora player Ballaké Sissoko and the French cellist and bassist Vincent Segal has resulted in two albums of frequently sublime world-music fusion replete with rich textures, careening rhythms, and evocative, impeccably rendered melodies. —EB [THE ARTSCENTER, $22/8 P.M.]

Eric Whitacre Singers BLANK In photos, composer CHORUS Eric Whitacre looks oh so serious, his Legolas quaff falling just above his shoulders, his goatee a barely-there five o’clock shadow. Sometimes he wears a scarf, sometimes a V-neck. His eyes dig inquisitively, but superficially, into your soul. Too bad that that studied veneer covers mostly vacant sounds. —DR [DUKE CHAPEL, $10–$52/8 P.M.]

Young the Giant ELECTRO This Irvine, California, POP electro-pop juggernaut has leveraged a knack for gratingly catchy YOLO anthems into a thriving career as vaguely dissolute, carefully ruffled radio fodder. The big-ticket, Killers-like hooks are undeniable, but then so is global warming. It doesn’t mean you’re rooting for either of them. Lewis Del Mar

opens. —EB [THE RITZ, $27.50/8 P.M.] ALSO ON TUESDAY BLUE NOTE GRILL: Mardi Gras Party; 7:30 p.m. • IRREGARDLESS: Cole Koffi; 6:30 p.m. • LOCAL 506: Leopold and His Fiction, The Howling Tongues, Time Sawyer; 9 p.m., $10. • POUR HOUSE: Mardi Gras Party: Boom Unit Brass Band, Gang Of Thieves; 8 p.m., $5–$10. Boom Unit Brass Band, Gang of Thieves; 9 p.m., $5–$10. • RUBY DELUXE: Chula; 11 p.m. • SHARP NINE GALLERY: North Carolina Jazz Repertory Orchestra; 8 p.m., $10–$20.

WED, MAR 1 Jesca Hoop HOOP Jesca Hoop opens DREAMS her new Memories Are Now , which she released via Sub Pop in early February, with a plodding bass line and heavy, dreamy sighs. It’s a fitting introduction for a record that’s equally drowsy, sweet, and hypnotic. Hoop’s exaggerated English affectation is a strange distraction at times, but Hoop is absolutely spellbinding on songs like “Animal Kingdom Chaotic.” —AH [CAT’S CRADLE BACK ROOM, $12–$15/8 P.M.]

Japandroids WILD AT Vancouver duo HEART Japandroids have always been a strangely optimistic band, given its brash, noisy indie rock. Hell, the almost universally critically revered band’s nearly universally critically revered second record was called Celebration Rock. On January’s Near to the Wild Heart, Japandroids preach the same hoarse and hoary sermons, and it’s strangely inert for a band so widely regarded for being so irresistibly propulsive. That anthemic punk optimism is more exhausting than energizing, but it still offers a momentary relief from the terror of now, if nothing else. —PW [CAT’S CRADLE, $20–$23/9 P.M.]

Ladysmith Black Mambazo VOX The lambent HUMANA harmonies of this South African vocal ensemble were the magic spice on Paul Simon’s landmark Graceland, and that platter brought them to deserved international acclaim. Founded by the musically named

Joseph Shabalala, the group continues to delight audiences with its unique blend and its spirit of human-kindness. —DK [CAROLINA THEATRE, $29–$90/8 P.M.]

N.C. Symphony with Lang Lang PIANO AS It’s been two years DRUM since Lang Lang last shared the stage with the N.C. Symphony, but he returns to perform Bartók’s towering second piano concerto, a perfect match for his thunderously physical playing. Bartók mixes the complicated Hungarian rhythms with a percussive approach to the piano, combining glowing melodic lines with pummeling, Stravinskyesque dissonances. Before the show, Lang Lang will discuss the strange parallels he hears between Mongollian music and Bartók, which may influence his approach to the piece. —DR [MEYMANDI CONCERT HALL, $90–$165/7:30P.M.]

Saving Space Showcase SAFETY Most people go to FIRST concerts to have a good time, but unfortunately, rock club environments can feel unwelcoming or intimidating to women, queer and genderfluid people, and people of color. A new twice-monthly series seeks to help correct that by booking slates of bands that aren’t entirely straight white dudes. The first installment is a boisterous rock bill that benefits the Durham Solidarity Center. The Wyrms and Organos each return from a spell in hibernation, while the newer No One Mind continues to flex its shoegazey muscles. (Disclosure: Sarah Schmader, who organizes the series, is an account executive in the INDY’s advertising department.) —AH [THE PINHOOK, $5/8 P.M.] ALSO ON THURSDAY BLUE NOTE GRILL: Studebaker John & the Hawks; 8 p.m., $8. • THE CAVE: Drippy Inputs; 9 p.m., $5. • CORNER TAVERN: Chris Overstreet; 9 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: Bruised Orange; 6:30 p.m. • POUR HOUSE: Leopold and His Fiction, The Howling Tongues; 9 p.m., $8–$10. • UNC’S PERSON RECITAL HALL: Stephanie Tingler, Martha Thomas; 7:30 p.m., free.

art OPENING Art of the Children of Abraham: Mixed media. Feb 28-Mar 27. West Raleigh Presbyterian Church, Raleigh. www.wrpc.org. SPECIAL The Color of Light: EVENT Landscapes by Lyudmila Tomova and Vinita Jain. Feb 24-Mar 29. Reception: Feb 25, 6-9 p.m. Village Art Circle, Cary. www. villageartcircle.com. Folk Art Show: Sat, Feb 25 & Sun, Feb 26. Fearrington Barn, Pittsboro. www.fearrington.com. For the Love of Art: Art Auction and Gala: Sat, Feb 25, 6 p.m. Raleigh Marriott City Center. www.vaeraleigh.org/attend. I Heart Art Fundraiser: Art Therapy Institute. Sun, Feb 26, 3 p.m. 21c Museum Hotel. www.21cmuseumhotels.com/ durham. SPECIAL Eng Pua and EVENT Barbara Proctor Smith: Fri, Feb 24, 6 p.m. Cary Gallery of Artists, Cary. www. carygalleryofartists.org. SPECIAL UNC MFA Art EVENT Auction: Work from current graduate students, MFA alumni and faculty. Reception: Fri, Feb 24, 6-9 p.m. Light Art + Design, Chapel Hill. www. lightartdesign.com.

ONGOING 2-Dimensional Art Show: Group show. Thru Mar 22. Carrboro Branch Library, Carrboro. www. co.orange.nc.us/library/carrboro. LAST About Place: Greg CHANCE McLemore and Barbara Campbell Thomas. Thru Feb 25. Artspace, Raleigh. www.artspacenc.org. Animal Spirits: Visionary Folk Art: Group show. Thru Apr 6. Alexander Dickson House, Hillsborough. www. historichillsborough.org. Ansel Adams: Masterworks: An artist is not always the best person to assess his or her own work, but in the case of Ansel Adams, the great photographer of the American West, the king of the coffee-table book, we’ll make an exception. Adams

2.22 – 3.1 called this “the Museum Set,” the ultimate expression of his legacy. These forty-eight masterworks, taken in locations like Glacier National Park, Yosemite, and Monument Valley, speak to Adams’s monumental purity of vision. Thru May 7. NC Museum of Art, Raleigh. www.ncartmuseum.org. —David Klein LAST Artspace Long Pose CHANCE Figure Study Exhibition: Thru Feb 25. Artspace, Raleigh. www. artspacenc.org.

SATURDAY, FEBRUARY 25

SATURDAY MORNING CARTOONS: PANCAKEBOT BREAKFAST/ALL-AGES CARTOONING WORKSHOP Working from the unassailable premise that cartoons, Saturday mornings, and pancakes are meant for one another, this all-ages cartooning workshop beckons to anyone who’s spent time drawing caricatures in the margins of a notebook during class time. Whether you’re a longtime practitioner, a novice, or a secret scribbler, you’ll learn valuable techniques, gain tips on materials, and discover ways to fire up your imagination from a pair of pros. Paul Friedrich, best known for Onion Head Monster, his award-winning strip, employs a lo-fi style, like a punk rock answer to mainstream comics, that is immediately recognizable. The work of visual artist/animator/stand-up comedian Adam Cohen has a similar childlike boldness, and both emphasize imagination over technical skill, making them an approachable team to help you take your cartooning to the next level. Materials— including syrup for pancakes, courtesy of the PancakeBot, which is basically a 3-D printer for food—will be provided —David Klein

Beyond Bollywood: Indian Americans Shape the Nation: By examining the history of Indian immigrants as they assimilated and contributed to American life—musical, political, culinary, scholarly, sporting, and cultural—this traveling Smithsonian exhibit reframes what it means to be an Indian American. Thru Apr 2. City of Raleigh Museum, Raleigh. —David Klein LAST Be the Good: John CHANCE Harrison, aka

Jphono1, makes beguiling music out of the gauzy brushstrokes of his voice and a latticework of hypnotic acoustic guitar patterns. In his screen printing and mixedmedia art, Harrison creates an apt visual complement for his bright, off-kilter acoustic excursions. Single images sit in sharp relief against backgrounds of colorful, Escher-like tessellations: a cool fifties chair, bare branches against a rippling sky, an Ibanez Turbo Tube Screamer guitar pedal. The patterns— starbursts, vines, op art—will be familiar to anyone who’s ever dabbled in psychedelics, or even just scrunched their eyes shut tight. Thru Feb 24.

The ArtsCenter, Carrboro. www. artscenterlive.org. —David Klein LAST Black History: CHANCE Artists’ Perspectives: Mixed media. Thru Feb 28. Hayti Heritage Center, Durham. www.hayti.org. A Celebration of 100 Years of Solitude: Gabriel García

NORTH CAROLINA MUSEUM OF ART, RALEIGH 9 a.m., $20–$25, www.ncartmuseum.org

Paul Friedrich: Onion Head Monster PHOTO COURTESY OF PAUL FRIEDRICH

Márquez’s One Hundred Years of Solitude is built on a grand pattern of Latin American myth and history, intermeshed with an intimate one of seven generations of a family, and both wound by Márquez into shapes of fated repetition and doom. This exhibit by the Artist Studio Project, including twelve artists’ responses to the novel, was curated by Rafael A. Osuba, who put on a similar tribute to Don Quixote last year. Thru March 10. Durham Arts Council, Durham. www.durhamarts.org. —Brian Howe

Edwards-Smith. Thru Mar 30. Eno Gallery, Hillsborough. www. enogallery.net.

Aaron Zalonis. Thru Mar 3. SPECTRE Arts, Durham. www. spectrearts.org.

Corridor Exhibitions: Carrie Alter, Paula Baumann, Andie Freeman, Celia Gray, Judy Keene, and Don Mertz. Thru Mar 25. Artspace, Raleigh. www.artspacenc.org.

Collecting Carolina: 100 Years of Jugtown Pottery: Pottery. Thru May 29. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Darning Memory: Fabric works by Leatha Koefler, Mary Starke, and Ely Urbanski. Thru Mar 24. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

Connections: Paintings by Ellie

Earth is Closed Everyone is Fired:

Fever Within: The Art of Ronald Lockett: Self-taught artists also teach one another. Starting in the 1980s, Alabama produced a remarkable crop of AfricanAmerican ones who entered the canon as it slowly grew less homogenous. Scavenger sculptor Lonnie Holley has had a retrospective at the Birmingham Museum of Art; assemblage master Thornton Dial has been collected by MOMA, the Whitney, and the Met. Little known but primed for reconsideration is Dial’s cousin, Ronald Lockett, who explored the panoramic violence and racial strife of the twentieth century in richly textured, starkly

Cuba Now: Photography by Elizabeth Matheson. Ongoing. Craven Allen Gallery, Durham. www.cravenallengallery.com. Daily Bred: Mixed media by Stephen Hayes. Thru Mar 5. Durham Art Guild, Durham. www.durhamartguild.org.

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totemic paintings on discarded materials, wrought with wire and nails, twigs and leaves. He made some four hundred works before his death from complications of HIV/AIDS at age thirty-two in 1998. See fifty of them in the first solo exhibition of his work. Thru Apr 9. Ackland Art Museum, Chapel Hill. www.ackland.org. —Brian Howe Flora and Fauna: Mixed media. Thru May 14. Ackland Art Museum, Chapel Hill. www. ackland.org. LAST #Greenspaces: CHANCE Paintings by Judy Crane and Wendy Musser. Thru Feb 27. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com. LAST Guin Down the Coast: CHANCE Photography. Thru Feb 27. Bond Park Community Center. www.townofcary.org. Josh Hockensmith and Mark Iwinski: Mixed media. Thru Mar 27. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com. Howard Murry Rediscovered: Charlotte native Howard Murry painted in the resort town of Valle Crucis, near Boone. Murry was interested in rural North Carolina, from farming methods to religious practices, and his watercolor landscapes depict a slightly idealized past, free of utility lines and automobiles, taking subtle modernist liberties with his subjects. The first exhibit of Murry’s work in twenty-five years consists of forty watercolors that the artist’s grandson has owned since Murry’s death in 1968. Thru Mar 25. Lee Hansley Gallery, Raleigh. www.leehansleygallery.com. —David Klein LAST In Light of Nature: CHANCE Nathalie Worthington. Thru Feb 26. Nature Art Gallery, Raleigh. www.naturalsciences.org. Life in the City: Kanchan Gharpurey. Thru Mar 31.

Carrboro Century Center. www. carrboro.com. Location Known: Gail Biederman, Chad Erpelding, and Travis Head. Thru Mar 11. Artspace, Raleigh. www.artspacenc.org. LAST Magic Realist: CHANCE Paintings. Thru Feb 25. Artspace, Raleigh. www. artspacenc.org. LAST Memory & CHANCE Imagination: Folk art. Thru Feb 23. Orange County Main Library, Hillsborough. www. co.orange.nc.us/library. Moor and Moon: Mary Walker. Thru Mar 10. Durham Arts Council, Durham. www. durhamarts.org. LAST Next Chapter: CHANCE Paintings by Lori D. White. Thru Feb 22. Village Art Circle. www.villageartcircle.com. Nuestras Historias, Nuestros Sueños/Our Stories, Our Dreams: Documenting the experiences of Latino farmworkers in the Carolinas. Thru May 7. Historic Oak View County Park, Raleigh. www. wakegov.com/parks/oakview. LAST Oceans and Moods: CHANCE Drawings and paintings by Lyudmila Tomova. Thru Feb 26. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill. LAST Oil Paintings of CHANCE Carolina Vistas: Wyn Easton. Thru Feb 28. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft. com. LAST Pick 2: Group show. CHANCE Thru Feb 25. Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com. LAST Reclusive Flora: CHANCE Vincent Whitehurst. Thru Feb 28. Cameron Village Regional Library, Raleigh. www. wakegov.com/libraries. Sabungeros (Cockfighters): Photography by Douglas Vuncannon. Thru Mar 11. Through This Lens, Durham.

www.throughthislens.com. Selma to Montgomery: A March for the Right to Vote: Photographs by Spider Martin. Thru Mar 5. NC Museum of History, Raleigh. www. ncmuseumofhistory.org. Sense of Scene: Group show. Thru Mar 11. Durham Arts Council, Durham. www. durhamarts.org. SPECIMEN: A Collection of Plant Artistry: Thru Mar 11. The Scrap Exchange, Durham. www. scrapexchange.org. Textiles in Tiers: Trudy Thomson, Sandy Milroy, and Rose Warner. Thru May 25. National Humanities Center, Durham. www. nationalhumanitiescenter.org. LAST The Weight We CHANCE Leave Behind: Photography by Jessina Leonard. Thru Feb 28. Bull City Arts Collaborative: Upfront Gallery, Durham. www. bullcityarts.org. Together: Group show. Thru Mar 5. Pleiades Gallery, Durham. www. PleiadesArtDurham.com. Transits and Migrations: A Summer in Berlin: Student photography. Thru Apr 15. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org. Unwoven Testaments: Textile art by Laurie Wohl that explores the relationships between Christianity, Islam, and Judaism. Thru Mar 26. Meredith College, Raleigh. www.meredith.edu. LAST Wood Forms in CHANCE Ironwood & Turquoise: Larry Favorite. Thru Feb 28. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com. LAST Yes You: Multimedia CHANCE work by Becky Brown. Thru Feb 24. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

30 | 2.22.17 | INDYweek.com

OPENING

ONGOING

7-Stories: The Art of Being Black: $5. Sun, Feb 26, 7 p.m. Kings, Raleigh. www. kingsraleigh.com.

Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Black Girl: Linguistic Play: Camille A. Brown & Dancers. $26–$30. Sat, Feb 25, 8 p.m. NCSU Campus: Stewart Theatre, Raleigh. See p. 22. Brain Candy Live: $40–$50. Wed, Mar 1, 7:30 p.m. Durham Performing Arts Center, Durham. www.dpacnc.com. Dreaming of Lions: Malpaso Dance Company with Arturo O’Farrill & the Afro Latin Jazz Ensemble. $10–$42. Fri, Feb 24 & Sat, Feb 25, 8 p.m. Duke Campus: Reynolds Industries Theater, Durham. See p. 23. ECHO: Installation and performance. Thu, Feb 23, 7 p.m. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. See p. 20. February 48 XIII: One-act plays. $8–$10. Sun, Feb 26, 7:30 p.m. The ArtsCenter, Carrboro. www.artscenterlive. org. Harriet Tubman and the Underground Railroad: Mon, Feb 27, 9:50 & 11:20 am. Carolina Theatre, Durham. www.carolinatheatre.org. Shen Yun Performing Arts: Sat, Feb 25, 2 & 7:30 p.m. Memorial Auditorium, Raleigh. www.dukeenergycenterraleigh. com. Twelfth Night: Play. $10–$57. Mar 1-19. UNC Campus: Paul Green Theatre, Chapel Hill. playmakersrep.org. The Vagina Monologues: Play. $12–$20. Mon, Feb 27 & Tue, Feb 28, 7:30 p.m. Sonorous Road Productions, Raleigh. www.sonorousroad.com. See p. 22. What You Want: Dance. $15. Fri, Feb 24 & Sat, Feb 25, 7 p.m. Living Arts Collective, Durham. See p. 31.

food 3rd Annual Interfaith Food Drive: Honoring Deah Barakat, Yusor Abu-Salha and Razan Abu-Salha’s service to the community. Sat, Feb 25, 10 am.

stage

Islamic Association of Raleigh, Raleigh. www.raleighmasjid.org. Larry’s Lab: Central and South American Coffee: Free. Wed, Feb 22, 6 p.m. 42 & Lawrence,

Raleigh. PICNIC 1st year Anniversary Pig Pickin’: Sun, Feb 26, noon. Ponysaurus Brewing Co. Durham. www.

Brad Williams: $24–$32. Thu, Feb 23, 8 p.m., Fri, Feb 24, 7:30 & 10 p.m. & Sat, Feb 25, 7:30 & 10 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

 Bright Half Life: Tanya Barfield’s Bright Half Life has a lot in common with Duncan Macmillan’s Lungs, which Sonorous Road staged last September. Both are twocharacter dramas focused on chronic overthinkers in love, and both propel us through decades of couples’ lives with the hand brake off. But Barfield’s work differs from Macmillan’s in two crucial respects. The dyad in Bright Half Life is lesbian and interracial, and instead of progressing in chronological order, the play flips through their crucial and resonant moments seemingly at random. Lives flash before our eyes as Jules Odendahl-James directs JoRose and Tamara Kissane in this regional premiere. See review, p. 25. $5–$20. Thru Mar 4. Manbites Dog Theater, Durham. www. manbitesdogtheater.org. —Byron Woods LAST The Curious CHANCE Incident of the Dog in the Night-Time: Adapting a novel for the stage is a challenge in the best circumstances. But when dealing with Simon Stephens’s adaptation of Mark Haddon’s best-selling 2003 novel, The Curious Incident of the Dog in the Night-Time, the National Theatre’s creative team, including director Marianne Elliott (War Horse), were tasked with making the mind of an adolescent mathematic genius with a spectrum disorder visible onstage as he navigated multiple mysteries—and coming of age—in a bewildering world. They succeeded, conquering the West End (with seven Olivier Awards in 2013) and Broadway (with five Tony Awards two years later). Variety’s Marilyn Stasio termed the spectacle “Cirque du Soleil with brains” and Ben Brantley of The New York Times praised “a production

that retunes the way [we] see and hear.” $20–$125. Thru Feb 26. Durham Performing Arts Center. www.dpacnc.com. —Byron Woods The Harry Show: Improv comedy. $10. Fridays, 10 p.m. & Saturdays, 10 p.m. ComedyWorx Theatre, Raleigh. comedyworx.com. The Marriage of Figaro: NC Opera. $25–$99. Thru Mar 5. Fletcher Opera Theater, Raleigh. www.dukeenergycenterraleigh. com. Martin Luther King, An Interpretation: Play. $10. Thru Jun 24. The ArtsCenter, Carrboro. www.artscenterlive. org. LAST N: Play. $12–$24. CHANCE Thru Feb 26. Theatre In The Park, Raleigh. www.theatreinthepark.com. N.C. Comedy Arts Festival: $10. Fri, Feb 24, 8 p.m. Local 506, Chapel Hill. www. local506.com. LAST  The Night CHANCE Alive: Conor McPherson’s eerie dramas, including The Weir and The Seafarer, catalog the uncanny ghosts that still haunt the cities and countryside of modern-day Ireland. So when he described his 2013 work, The Night Alive, to the L.A. Times as a grown-up nativity play, theatergoers took notice. “I see it in those very simple terms,” he said, “with all the motifs about giving shelter to someone who needs shelter and featuring three wise men, none of them very wise here.” To say the least: Tommy’s a fuck-up in his fifties, subsisting with his slow friend Doc on a string of odd jobs, permanently crash-landed in a squalid room in his uncle Maurice’s house in Dublin. Tommy has befriended Aimee, a sex worker on the run from an abusive boyfriend. What can come from such a union, in such a humble place? With McPherson, expect the unexpected. Susannah Hough directs a quintet in this Honest Pint Theatre production, including company founder David Henderson, Samantha Corey, and John Allore. See review at www.indyweek.com. $17. Thru Feb 25. North Raleigh Arts & Creative Theatre,

Raleigh. www.nract.org. —Byron Woods LAST Noises Off: Play. CHANCE $5–$15. Thru Feb 26. William Peace University: Leggett Theatre, Raleigh. theatre.peace.edu. LAST Once Upon a CHANCE Mattress: Musical. $5–$10. Thru Feb 26. 7:30 p.m. Meredith College: Jones Auditorium, Raleigh. www. meredith.edu. LAST  One Man, CHANCE Two Guvnors: While you’re watching the various comical chain reactions of flying food, slamming doors, odd bits of furniture, and identities concealed and confirmed in One Man, Two Guvnors, try to remember one thing. Playwright Richard Bean’s 2011 adaptation of Italian playwright Carlo Goldoni’s eighteenth-century commedia dell’arte farce features a number of unbroken series of causes and effects. They’re the theatrical equivalent of a Rube Goldberg machine in which every moment must be carefully crafted and

rehearsed to directly trigger the next, and the next. Is that difficult? Why do you think they say, “Dying’s easy; comedy is hard?” Comedy Lab’s Rod Rich directs a talented cast including Jesse R. Gephart, Kirsten Ehlert, and Scott Nagel in this avidly awaited local premiere. See review at www. indyweek.com. $15–$27. Thru Feb 26. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. —Byron Woods LAST Zuccotti Park: CHANCE Musical. $10–$22. Thru Feb 26. Umstead Park United Church of Christ, Raleigh. www.upucc.org.

FRIDAY, FEBRUARY 24 & SATURDAY, FEBRUARY 25

ALYSSA NOBLE AND ALLIE PFEFFER: WHAT YOU WANT In his story this week on Justin Tornow and Heather Gordon’s art-dance collaboration, Echo (see p. 20), Chris Vitiello notes that many local choreographers, especially those associated with Durham Independent Dance Artists, focus on questions of selfhood and autonomy within larger artistic or social structures. The case is borne out in What You Want, the new DIDA offering from Alyssa Noble and Allie Pfeffer—who have performed with many local companies, including VECTOR, Renay Aumiller Dances, and The Bipeds—which “takes you inside the building of a self with two separate but overlapping solos.” Making the trialand-error quest of young people to define What You Want PHOTO BY ZOE LITAKER themselves its background premise, the pair of dancers created solos for each other but left room for spontaneous decisions onstage, capturing the push-and-pull of being who you are while adapting to others—a complex transaction when our relationships can feel so much like the components of ourselves. DIDA promises “hard lessons, disappointments, and a little bit of Twister” from the duo’s first eveninglength work together, which grew out of “Wear,” a short piece choreographed by Noble with a solo by Pfeffer that was created for a Tobacco Road showcase last year. —Brian Howe LIVING ARTS COLLECTIVE, DURHAM I 7 p.m., $15, www.didaseason.com

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THURSDAY, FEBRUARY 23

READINGS & SIGNINGS

NIGHT OF THE HUNTER

This 1955 tale of two children menaced by a charming but twisted “man of the cloth” who’s married their naïve mom has lost none of its ability to chill viewers to the bone. Notably, it does so with a minimum of violence, its unbearable sense of menace coming from the direction of Charles Laughton (his lone cinematic directorial effort) and Robert Mitchum’s unforgettable portrayal of Harry Powell, memorably marked by the love and hate tattoos across his knuckles. It’s one of four films being screened in this iteration of the Modern School of Film series, in which series founder Robert Milazzo discusses scenes and specific frames in detail as the film runs. The series aims to take viewers deeper into movies, but it determinedly avoids feel-good cinema. (Next up is Funny Games, next to which Night of the Hunter is a lighthearted romp.) That approach is a fine way to encourage looking beyond the simple cinematic pleasures, but the series appreciates those too, as evidenced by the free popcorn. —David Klein SHADOWBOX STUDIO, DURHAM 7 p.m., $10, www.shadowboxstudio.org

SPECIAL SHOWINGS Defiant Requiem: Thu, Feb 23, 7:30 p.m. UNC Campus: Kenan Rehearsal Hall, Chapel Hill. The Incredible Journey: Fri, Feb 24, 7 p.m. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org. MANA: Beyond Belief: Thu, Feb 23, 6 p.m. NCSU’s KennedyMcIlwee Studio Theatre, Raleigh. The Modern School of Film: Film Studies for All: Thu, Feb 23, 7 p.m. Shadowbox Studio, Durham. www. shadowboxstudio.org. My Darling Clementine: Fri, Feb 24, 8 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org. Olympic Pride, American Prejudice: Thu, Feb 23, 7:30 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org. Rusalka: Various locations throughout the Triangle. Sat, Feb 25, 12:55 p.m. www.metopera. org/Season/In-Cinemas/ Theater-Finder/.

OPENING

A United Kingdom—David Oyelowo and Rosamund Pike star in this historical drama about love across racial lines during apartheid. Rated PG-13. Get Out—Key & Peele’s Jordan Peele makes his directorial debut with a horror film about the anxieties of interracial 32 | 2.22.17 | INDYweek.com

relationships. Rated R. Toni Erdmann—In this German-Austrian comedy, a father tries to get into his overworked daughter’s life by disguising himself as a life coach. Rated R.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  A Dog’s Purpose—Josh Gad voices a reincarnating dog in this maudlin, improbable family movie. Rated PG. ½ Fantastic Beasts and Where to Find Them—A Rowling-penned, promising start to a new Harry Potter franchise. Rated PG-13. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry and courage. Rated PG. ½ I Am Not Your Negro— Raoul Peck’s filmmaking doesn’t always serve the material, but his James Baldwin doc must be seen for the undimmed power of its subject’s words and presence. Rated PG-13. ½ John Wick: Chapter 2—This smartly made return for the reluctant hit man

character that resuscitated Keanu Reeves’s career runs on muscle cars and muscle memories. Rated R.  La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13.  The Lego Batman Movie—Cranking up the Jokes Per Minute with an astonishingly high success rate, this animated film blends over-the-top laughs aimed at youngsters with countless gags for adults. Rated PG.

HH½ Passengers—This glossy interstellar vehicle for provocative moral entanglements ultimately implodes from the pressure of its star-driven, crowd-pleasing mission. Rated PG-13.  Patriots Day— Mark Wahlberg’s ego singlehandedly avenges the Boston Marathon bombing victims. Rated R.  Rogue One: A Star Wars Story—This war flick set in the Star Wars universe takes place just before the first film, and works great as a stand-alone. Rated PG-13. ½ Silence—Scorsese offers a masterful, reverent tale of seventeenth-century Jesuits traveling to Japan. Rated R.

Stacy Hawkins Adams: Sat, Feb 25, 3 p.m. Durham Main Library, Durham. www. durhamcountylibrary.org. A. Roger Ekirch: American Sanctuary: Mutiny, Martyrdom, and National Identity in the Age of Revolution. Mon, Feb 27, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. Mark Greaney: Gunmetal Gray. Sat, Feb 25, 11 a.m. McIntyre’s Books, Pittsboro. www. mcintyresbooks.com. Sydney Nathans: A Mind to Stay: White Plantation, Black Homeland. Thu, Feb 23, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com. Samuel Peterson: Trunky: Transgender Junky. Sat, Feb 25, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. Richard Rosen and Joseph Mosnier: Julius Chambers: A Life in the Legal Struggle for Civil Rights. Thu, Feb 23, 7 p.m. Quail Ridge Books, Raleigh.

www.quailridgebooks.com. — Tue, Feb 28, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com. Helen Simonson: The Summer Before The War. Wed, Feb 22, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks. com. — Sun, Feb 26, 2 p.m. McIntyre’s Books, Pittsboro. www.mcintyresbooks.com. Ashley Warlick: The Arrangement Mon, Feb 27, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com. Haider Warraich: Modern Death. Tue, Feb 28, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

LITERARY R E L AT E D G.K. Butterfield: Community discussion. Sat, Feb 25. Hillside High School, Durham. Caitlin Doughty: “The Face of Death.” Sat, Feb 25, 6 p.m. Full Frame Theater, Durham. In Conversation: Malpaso Dance Company and Arturo O’Farrill: Fri, Feb 24, noon. Duke’s Forum for Scholars and

Publics, Durham. Monday Morning Storytime: Mon, Feb 27, 10:30 a.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com. Radical Readers: Durham People’s Alliance book group meets at night to discuss books. RSVP for location, time & car pool. Last Tuesdays. Talking Music: CubanAmerican Cultural Exchange: Arturo O’Farrill, Eric Oberstein, and members of Cuba’s Malpaso Dance Company, Osnel Delgado, Dailedys Carrazana, and Fernando Sáez. Fri, Feb 24, noon. Duke’s Forum for Scholars and Publics, Durham. Peter H. Wood: “The Harper’s Ferry Five: Tracing the Roots of John Brown’s Actual Plan for 1859, and the Southern Black Freedom Fighters who Joined Him.” With Reginald Hildebrand. Fri, Feb 24, 6 p.m. Whitted Building, Hillsborough. Your Story: Informal writers’ group facilitated by Gaines Steer. Fourth Saturdays, 10 a.m.noon. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

THURSDAY, FEBRUARY 23

SO & SO READING SERIES: MICHELLE DOVE, COLIN POST & TRAVIS SMITH If poetry were a beverage to be imbibed, this month’s So & So reading at CAM Raleigh would offer a unique flight of the good stuff to savor. Three local writers with works-in-progress or recently published first books will take the mic: Michelle Dove (currently teaching at Duke), with the ruminative, relational, and downright funny poetry and flash fiction of her first book, Radio Cacophony, which we reviewed in October; Travis Smith, who works at Flyleaf Books and is the author of the chapbook Zodiac B, where contemporary lyrics startle with natural and fantastical imagery alike; and Colin Post, a doctoral student at UNC-Chapel Hill, who traces and breaks the analog-digital divide through multimedia poetry. With this 101st reading in the series, So & So curator Chris Tonelli brings something for everyone. Come for a tasting of what poetry—perhaps in forms fresh to you—can offer in variety, wit, intelligence, and delight. —Kendra Langdon Juskus CAM RALEIGH, RALEIGH | 8 p.m., www.camraleigh.org

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