INDY Week 3.7.18

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ART ATTACK

What the recent backlash against Kehinde Wiley’s work at NCMA gets wrong about art’s past and present

by Brian Howe, p. 20

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WHAT WE LEARNED THIS WEEK 6 Fifty Libertarians are running statewide in 2018.

Sixteen of them are in Wake County.

7 LGBTQ students and faculty at Duke Divinity interrupted their dean’s speech to argue that gays and trans students are being marginalized.

8 On average, it takes Section 8 voucher holders in Durham more than four months to find a place to live.

18 A computer-generated multimedia opera is premiering at Duke. Not even its creators know what’s going to happen.

20 Critics of Obama portraitist Kehinde Wiley misunderstand the concept of his controversial “Judith and Holofernes” painting.

24 What could be a worse idea than a bar where you throw axes? We have some thoughts.

VOL. 35, NO. 10 DEPARTMENTS 6 News 17 Food 18 Music 20 Arts & Culture 26 What to Do This Week 29 Music Calendar 32 Arts & Culture Calendar

Aliyah Shore puts cleaning supplies in the bathroom of her new home in Durham.

PHOTO BY CAITLIN PENNA

On the cover Raleigh: Kehinde Wiley’s “Judith and Holofernes” (2012, oil on linen) COURTESY OF NCMA Durham: ILLUSTRATION BY STEVE OLIVA

INDYweek.com | 3.7.18 | 3

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED IMPROVEMENTS TO THE U.S. 70 / N.C. 50 AND HAMMOND ROAD (S.R. 2026)/TIMBER DRIVE (S.R. 2812) INTERSECTION IN WAKE COUNTY TIP PROJECT NO. U-5744 The N.C. Department of Transportation will hold a public meeting regarding proposed intersection improvements to U.S.70 / N.C. 50 and Hammond Road (S.R. 2026) / Timber Drive(S.R. 2812) in Wake County.

The meeting will be held on Tuesday, March 27, at The Capital Church, 1308 U.S.-Hwy 70 in Garner from 4 p.m. to 7 p.m. Interested citizens may attend at any time during the meeting hours. NCDOT representatives will be available to answer questions and receive comments regarding the project. Please note that no formal presentation will be made. All comments received will be taken into consideration as the project progresses.

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

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

Elizabeth Bracy, Timothy Bracy, Michaela Dwyer, Katie Jane Fernelius, Curt Fields, Spencer Griffith, Glenn McDonald, Neil Morris, Hannah Pitstick, Noah Rawlings, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERNS Ryan Elizabeth Haar, Caitlin Sloan

ART+PRODUCTION

PRODUCTION MANAGER Christopher Williams ART DIRECTOR Steve Oliva

CIRCULATION

As information becomes available, it may be viewed online at the NCDOT Public Meeting Website: http://www.ncdot.gov/projects/publicmeetings Anyone desiring additional information may contact Zahid Baloch, P.E., NCDOT, Senior Project Engineer, at 1548 Mail Service Center, Raleigh, NC 27699, (919) 707-6012 or zbaloch@ncdot.gov. Comments should be submitted by April 27, 2018.

CIRCULATION DIRECTOR Brenna Berry-Stewart DISTRIBUTION Laura Bass, Nathan Fellers,

Michael Griswold, JC Lacroix, Richard David Lee, Marshall Lindsey, Gloria McNair, Anne Roux, Timm Shaw, Freddie Simons, Trudi Vass, Herschel Wiley

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NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting.

Anyone requiring special services should contact Tamara Makhlouf via email at tmakhlouf@ncdot.gov or by phone at (919) 707-6072 as early as possible, so that these arrangements can be made.

Persons who speak Spanish who have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800- 481-6494.

Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494.

4 | 3.7.18 | INDYweek.com

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backtalk

FINE GROOMING & BATHING SERVICES

Paranoid Extrapolation

ham officials should think twice about takLast week, Sammy Hanf wrote about a ing public safety advice from those who movement in Durham that seeks to block demonize the police and Jews and are assopolice officers from participating in ciated with activists who specifically target exchange programs with Israeli security other Jewish causes.” forces. Amy Rosenthal argues that this is Erica Hellerstein wrote in last week’s a “pitiful excuse for journalism” and “no paper about local students’ reactions to more than paranoid extrapolation.” the mass shooting in Parkland, which cul“The article sounds reasonable and righminated with a walkout of high school teous until the reader questions the ‘inforstudents in Cary. Chris O’Brien writes: mation’ provided,” Rosenthal writes. “By “‘Why does this keep happening? And its own admission, only the last two police what can be done to stop it?’ The answer chiefs have participated in training with to these questions is blindingly obvious: Israeli forces. The author makes presumpthere’s only one difference between the tions about what is taught, but Israel is U.S.—with its generations of nonstop gun well-recognized as an international expert violence and graveyards full of shot dead on counterterrorism, and this is the focus. women and children—and the rest of the Community policing and crowd control are industrialized world, which has none of not discussed in these exchange programs.” the above. Guns. That’s it.

Adds Stanley Robboy: “Hanf’s recent arti“Countries without a lot of guns—and cle encourages the Durham government to you may find this shocking—don’t have a embrace a perilous, anti-safety policy. This lot of gun violence. As long as the U.S. has group, Demilitarize from Durham2Palesthree hundred miltine, promotes an lion guns, it will anti-police, anticontinue to lose safety agenda. In “Countries without a lot thirty thousand a June, it promoted an year to them.” event ‘to divest from of guns don’t have a lot “I understand policing’ and to ‘let of gun violence.” the frustration of the [city] council some high school know (once again) students, especially that cops are not those in schools that experienced a shootpublic safety, and that our money should ing incident,” counters John Richeson. “I fund the things that do keep us safe.’ Many in also recognize that we have many intelliour community, from all sides of the political gent and thoughtful high school students. spectrum, sensibly eschew such a reckless The bottom line, however, is that these stuand irresponsible agenda. dents are adolescents, still wet behind the “This group also demonizes Israel, a ears, so to speak. They have earned no sigcountry that works cooperatively with the nificant life experience except from home U.S. and our allies across the globe to make and school socialization. our communities safer. After 9/11, where “The idea of high school students affectdid our country turn to learn more about ing our laws and constitution by walkouts airline security? To Israel. Working closely (truancies) and boycotts is unsettling at with Israel and other allies on safety is what the least. It makes me think of William we should not only expect, but demand of Golding’s Lord of the Flies! Guns are not our leaders. the problem; unstable people with guns are “For decades, Israel has worked with the problem. Punish those who commit the many countries throughout the world, crimes and leave the rest of us law-abiding including those in Africa and the Middle citizens alone.”

East, to share water recycling, irrigation, farming, and medical and scientific technologies. Israel’s willingness to share its Want to see your name in bold? Email us at expertise has immeasurably improved lives backtalk@indyweek.com, comment on our across the globe. Will Durham activists Facebook page or indyweek.com, or hit us up seek to end these relationships, too? Duron Twitter: @indyweek.

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The Libertarians Are Coming

AND THEY’RE NOT ALL OLD WHITE DUDES LOOKING TO SKIP OUT ON THEIR TAXES

BY ERICA HELLERSTEIN

I

n November, Robyn Pegram decided to make a change.

Pegram, a twenty-four-year-old Apex native, had been a Democrat, but the party’s handling of Bernie Sanders’s candidacy and the HB 2 aftermath left her feeling alienated. Pegram had always been interested in libertarianism—“I had always kind of prided myself on being a free thinker,” she says—so she switched.

A few months later, Pegram made another big decision. She filed to run against state representative Nelson Dollar, the seven-term Republican whose district covers parts of suburban Wake County, because she “wanted to be a voice for the people” and believed his seat was winnable.

In 2016, Dollar barely eked out a victory over Democrat Jennifer Ferrell, and Democrats saw his seat as both vulnerable and vital to breaking the GOP’s veto-proof supermajority in the House. But both Ferrell and Wake County Commissioner Matt Calabria bowed out after a last-minute Supreme Court redistricting ruling that left them outside District 36. The only Democrat in the race now is Julie von Haefen, the president of the Wake County PTA chapter.

Enter Robyn Pegram.

“District 36 is growing and it’s very flippable,” she says. “At the very least, even if I don’t win, I’m at a position to make a difference.

To provide a voice to those that support my ideas, to provoke thought and offer solutions to the problems that we have today.”

Pegram isn’t the only local Libertarian with high hopes for 2018. She’s one of a record number of Libertarian candidates running for office in Wake County, a trend party officials chalk up to voters’ dissatisfaction with the two-party duopoly and a growing Libertarian presence across North Carolina. Statewide, the party is fielding six congressional candidates, twenty-one state House candidates, fifteen state Senate candidates, four sheriff candidates, and four county commissioner candidates.

6 | 3.7.18 | INDYweek.com

Robyn Pegram PHOTO COURTESY OF ROBYN PEGRAM In all, fifty Libertarian candidates are running for office in 2018, including sixteen in Wake County.

“The people of North Carolina deserve real choices in the voting booth, and we have an amazing group of people who have made the commitment to serve,” wrote Libertarian Party of North Carolina chairwoman Susan Hogarth in an email announcing the party’s “record-setting slate” of candidates.

“In an environment dominated by political expediency, the growing energy in the LPNC tells us people want something more.”

According to Wake County Libertarian Party chairman Dave Ulmer, the interest has been unprecedented—and some of its enthusiasts unexpected. Although most people associate the party with an older white-male crowd, Ulmer says the local chapter is also drawing younger and sometimes center-left members.

“There used to be this label that we only attract older white guys who don’t want to pay their taxes,” he says. “I’m excited because I have people that I would have, based on their demographics, considered possibly left or center-left coming to the Libertarian Party.

It seems to have, in the last year and a half, struck a chord with people who might traditionally vote Democrat if there was no Libertarian on the ticket. It’s not entirely expected.”

Perhaps no one represents this dynamic better than Pegram. A lesbian, Pegram says she was disappointed by the Democrats’ handling of HB 142, the HB 2 replacement that passed last year with the support of a number of North Carolina Democrats, including Governor Cooper. While the bill eliminated the controversial bathroom provision, it left in place a nearly four-year moratorium on local governments passing antidiscrimination laws.

“In a lot of ways, it can feel like when you’re in the Democratic Party and you’re in the LGBT community, sometimes you feel like a prop so that officials say one thing during campaign but do another once in office,” Pegram says. “I just wanted to get away from that completely.”

Like Ulmer, Pegram says she’s seeing her fellow millennials express interest in Libertarian ideas, which helps her wave away concerns that she doesn’t fit the party’s traditional mold.

“I’m not too worried that I don’t really fit what it usually looks like to be a Libertarian,” she says. “I think there’s a new wave coming. When I say new wave, I mean including more youth and women and LGBT. These people are becoming more politically awakened.”

Still, it’s hard to say how—and if—any of these trends will affect the upcoming elections. As of March 3, there were 4,621 registered Libertarians in Wake County, according to the State Board of Elections, compared to 4,526 in 2017. Pegram is optimistic that she can defeat Dollar, but she’ll have to vastly outperform the Libertarian candidate who ran against him in 2016.

That year, Nelson Dollar won District 36 with 49 percent of the vote; Brian Irving, the Libertarian, won 4 percent.

Any sort of Libertarian movement in North Carolina, in fact, will face an uphill climb. Libertarian presidential candidate Gary Johnson received less than 3 percent of the vote in 2016; Sean Haugh, the Libertarian Senate candidate, garnered 3.6 percent.

But Ulmer and others are optimistic that even if none of their candidates are elected in 2018, the Libertarians will change the conversation—especially in Wake.

“Wake County is one of the most purple counties in the country in a purple state,” Ulmer says. “So to say that our message and our voters won’t have an impact is not really correct. We will have an impact.

And I would argue that our participation and our messaging and who we will pull from will likely decide the outcome of those races. The two parties don’t want to admit that. They don’t want to acknowledge that we’re existing. They are trying very hard to ignore what’s happening in Wake County. Because once you begin to acknowledge you have a legitimate third party on the ballot competing, winning votes, and changing the conversation, you have to address that.” ehellerstein@indyweek.com

news

Divine Wrath

STUDENTS SAY DUKE’S SEMINARY NEEDS TO BE MORE LGBTQ-FRIENDLY

BY RYAN HAAR

L

ast Wednesday, the dean of the Duke Divinity School gave her State of the School address, an annual affair that rarely generates headlines.

This year was different.

A group of LGBTQ students and faculty and their allies interrupted Elaine Heath’s address in an effort to call attention to what they say is the “real” state of the divinity school—that is, that it’s less than welcoming to gay and trans students. What’s more, the protesters say, the school has declined to address their demands, which include the implementation of a nondiscrimination policy and clearly marked gender nonspecific bathrooms.

The protesters say that professors are unequipped or unwilling to deal with queer theology and that LGBTQ students who want to engage with those issues aren’t given the resources to do so. In addition, they object to the lack of LGBTQ faculty and what student Nicole Williams describes as a “don’t ask, don’t tell” policy that pervades the school.

All the while, the students complain, the school advertises racial diversity and highlights its gay and queer students.

On their list of demands is a queer theology course, which students want the school to offer starting this fall. But theology pro-

fessor Mary Fulkerson, the faculty adviser to the campus group Sacred Worth, which seeks to increase awareness of LGBTQ issues in the church, says they already have one—and she teaches it.

“Maybe we need to change the title so it’s more obvious,” she says.

The class, Sexuality: Bible, Church, and Controversy, explores sexuality, gender, and how to think about those concepts while reading religious texts.

offending Methodist students. Gays and lesbians cannot be ordained in the Methodist church, unlike in the Presbyterian church, says Fulkerson, a Presbyterian minister.

This isn’t the case at Wake Forest School of Divinity, which openly and unequivocally supports LGBTQ students despite its historical ties to the Baptist church.

Wake Divinity is an outlier among seminaries in the South: according to the Institute for Welcoming Resources, it’s one of

“At times, Duke Divinity School can seem like this isolated place.”

Williams says the course doesn’t cut it.

“Although Duke Divinity School has certain courses that include quote-unquote queerness, there’s not a specific course geared around queer theology,” she says.

Duke Divinity was founded ninety-two years ago and is still supported by the United Methodist Church, which is perhaps why the school has not more explicitly embraced LGBTQ students, Fulkerson says. She also thinks the affiliation is part of the reason her course is titled opaquely—for fear of

only seventeen seminaries in the nation and three in the South that are welcoming to LGBTQ students.

“Overall, Wake Divinity is a very welcoming and affirming environment,” says Erica Saunders, president of Wake Divinity’s pro-LGBTQ campus group, Kaleidoscope.

“Most students explicitly affirm the dignity and unique contributions of LGBTQ people to theological education and to Christian life in general. A few individual students do not fully affirm LGBTQ in their theologies,

but [Wake Divinity] creates an institutional culture of respect.”

At Duke Divinity, however, it’s a different story, Williams says. There’s a “general hushing” of LGBTQ people. Last year, Williams says, students rallied to gather signatures for a petition for a queer theology course, but the second the petition was handed over to faculty, it disappeared.

This isn’t representative of the university as a whole, Williams says. “It’s more of a Duke Divinity School in-house thing that is systemic to the place,” she says. “At times, Duke Divinity School can seem like this isolated place from the greater university.”

The students have focused their ire on Heath, the school’s first female dean, who says the student protests amount to “disrespect shown to my leadership.”

Beyond that, Heath hasn’t addressed the tensions, save for a statement to The Herald-Sun that “all students, including LGBTQ students, are an integral part of the Duke Divinity School community.”

Fulkerson says she sympathizes with both sides.

“I feel for the students who feel they are being marginalized,” she says. “But I also feel for Dean Heath. I believe she is doing as much as she can.” backtalk@indyweek.com

INDYweek.com | 3.7.18 | 7

W

A program that moved four families from a homeless shelter into their own homes won’t fix Durham’s affordable-housing crisis, but it could be a start

BY SARAH WILLETS PHOTOS BY CAITLIN PENNA Leigh Ann Shore kisses her daughter, Aliyah, inside their new home in Durham.

8 | 3.7.18 | INDYweek.com

earing the light-blue uniform of Healthy Start Academy, sixyear-old Aliyah Shore bursts through the door into the sunlit kitchen of her home in north Durham and takes off her shoes.

“Home sweet home!” she exclaims, arms outstretched, her socked feet sliding on the brand-new tile floor.

It’s Aliyah’s first time seeing this home, a multiunit, two-story house on Delbert Avenue. And it’s the first home she’s had in about four months. There’s a lot to explore— and a lot to unpack.

She zips throughout the house, pausing to investigate closed doors and unpack doll clothes, Frosted Flakes, and cleaning supplies before something else catches her attention.

Yes, says her mother, Leigh Ann, she’s always this organized.

Soon, they get to Aliyah’s room—her own room!—and Leigh Ann asks what she thinks.

Aliyah grabs her mother’s hands and they spin together in a circle on the empty floor.

“Ring around the rosie! Ring around the rosie!” Aliyah sings.

Thanks to a year-long effort by the Durham nonprofits Families Moving Forward and Reinvestment Partners, Aliyah and Leigh Ann and three other formerly homeless families now have a place to call their own. It may amount to a small dent in the pervasive problem of housing affordability in Durham, where 45 percent of renters pay more than 30 percent of their income toward housing. But, for these ten people, it’s a deeply personal solution that may see them from homelessness to, one day, homeownership.

The project is a first-of-its-kind endeavor for both groups—Reinvestment Partners bought the house in 2017 and completely gutted it, while Families Moving Forward identified families in its shelter, helped them arrange housing choice vouchers to supplement the rent, and coached them on being good tenants. The families—all headed by single women raising children age fifteen and under—get an affordable place to live, a year of support services from Families Moving Forward, and a built-in community of neighbors they grew close to during one of the most trying times of their lives.

“There’s not any one silver bullet for this affordable housing crisis,” says Catherine Pleil, director of special projects for Families Moving Forward. “We need to be willing to look outside the box and be willing to approach different solutions. For these four families and any that may come after them, it’s everything. It’s big even though it might seem like it’s just four families.”

J

ust off of Horton Road sit three dozen nearly identical homes. They were all built in the mid-1980s and share the same combination of brick and gray or beige siding broken up by symmetrical doors and windows. The multiunit homes have different owners, some local, some out of state.

They’re all valued at about $175,000—about $25,000 below the median home value in Durham, a number that, according to real estate website Zillow, has risen 7 percent in the past year.

But the house at the corner of Delbert and Marne avenues stands out.

“These are amazing, aren’t they?” asks a teenage boy, cutting across the yard with a friend on a sunny Tuesday afternoon.

A fresh coat of yellow paint hints at the updates inside. Bright orange shutters frame windows that were boarded up three years ago.

“It was stripped down to the studs,” says Peter Skillern, executive director of Reinvestment Partners, which bought the house in early 2017. At the time, it had been

Families Moving Forward’s shelter serves twenty-one families at a time—as many as one hundred each year. The goal is to house families within ninety days of entering the shelter, but that’s not a hard deadline to leave. The time each family in the Delbert Avenue house spent with FMF before getting keys two weeks ago varied from weeks to months.

Timing was crucial in selecting the tenants, Pleil explains. Not only did they have to qualify for a housing choice voucher (also known as a Section 8 voucher), they had to have a voucher that could be applied to a two-bedroom unit and have that assistance secured in time to move.

That they had become friends during their time with FMF was serendipitous.

These families have been brought together through shared experiences of abuse, eviction, and uncertainty—but also through their children (who became playmates at the FMF shelter), their methods of coping with their newfound living situation, and their resolve to move past it.

Just three years before, she had been living a middle-class life in a four-bedroom home in Maryland, working as a teacher and taking her young students along to deliver food and clothes to the homeless.

Following her son, who was a student at N.C. Central, Vick-Lewis moved to Durham to continue a career as a motivational speaker and use her own experience to impress upon young people the importance of getting tested for HIV. (She says she learned she was HIV-positive because her church offered testing and she took advantage of it.)

She lived in a two-bedroom apartment near Hope Valley and became enmeshed in her community, inheriting from a previous resident the duty of doling out sweets to neighborhood kids.

“I was the candy lady, the grandma of the neighborhood, the babysitter, the hair stylist,” she recalls, surrounded by piles of family photos and clothes waiting to be unpacked.

When one of her grandsons “got in trouble” at the apartment, she was given thirty days to get out. She enlisted the help of

wraparound services for a year to help ensure their long-term stability.

Jane moved to Durham from elsewhere in North Carolina in June 2016, after she hurt her knee and could no longer work as a city bus driver. She and her nine-year-old daughter lived with friends, in their car, and with fellow church members before moving into the FMF shelter in August. She applied for jobs but was turned down when prospective employers learned she was pregnant. Her second daughter was born five weeks ago.

According to Pleil, about 60 percent of the shelter’s guests at any given time are children, about half of whom are under five.

Last year, FMF served its highest number of teenagers ever—twenty—although she cautions that it’s too early to determine if that’s indicative of a trend.

“The majority of the time it seems like there were forty kids,” Jane recalls.

Mayor Steve Schewel, in his first State of the City address last month, announced plans to “map out a strategy for ending children’s homelessness” in the next few years.

“There’s not any one silver bullet for this affordable housing crisis.” vandalized and left to deteriorate. (There are several vacant homes in the immediate area, and the organization hopes to buy and rehab more).

The house got new plumbing, windows, and fixtures. Like any renovation project, Skillern says, it came with some headaches—“and then the clients hugged me.”

Reinvestment Partners, which has a broad mission centered on community development, has purchased and rehabbed buildings before, particularly in the Geer Street area where its office is located. But this is the nonprofit’s first rental and its first time taking housing choice vouchers, which pad a tenant’s income-based rent payments with federal dollars.

That’s where Families Moving Forward, the largest provider of homeless services in Durham, comes in.

“They don’t develop housing, and I don’t do case management for homeless families, but both are needed for these families to succeed,” Skillern says. “It’s not just bricks and mortar. It’s not just services. But when they combine, now we have a winner.”

“You feel a dignity that you might not if you moved into another kind of place,” Pleil says. “I think that’s so important to people on their way up in life. They’re going to want to stay in a beautiful place like this.

They’ll build a network with each other.”

A

ngel Vick-Lewis and her next-door neighbor in the new house formed a bond during their time in the FMF shelter.

Jane—not her real name—had been there longer, since August, but the two shared a past of escaping abusive relationships.

A mother of five, grandmother of thirteen, and former teacher, Vick-Lewis was drawn to Jane and her brand new baby girl.

“Even though they had therapists there, we had our own way of coping with different things,” Jane says. “Me, Ms. Angel, and another lady or two, after the kids went to bed we’d go in my room and listen to music and vent to each other, ask for solutions and ideas. We made a pact to stay in touch with each other.”

Neither had stayed in a shelter before. VickLewis says when she first moved in, she cried every night.

friends and service providers in her search for a new home but found nothing she could afford. So she and her fifteen-year-old grandson (whom she has taken care of since he was a toddler) stayed in a hotel for two weeks before space opened up at FMF on December 23. For the first month, she was shocked to find herself in the same position as the people she had once helped.

“Then I sat and realized, what am I crying for?” she says. “I was actually never homeless. I always had someplace to lay my head down, and it was always someplace safe. It was a rough two months, but I thank God for everything I went through.”

Her time with FMF, she says “was a blessing in disguise”—a sentiment her neighbors echo.

FMF’s program, the NEST (Neighbors Experiencing Success Together), also includes self-sufficiency programs and employment help for adults, and fitness, nutrition, and tutoring programs for kids.

Through the Nest Egg, as the Delbert Avenue initiative is known, the families will continue to receive case worker and

Unlike for homeless veterans, the federal government doesn’t allot Section 8 vouchers specifically for homeless families with children, creating a system in which homeless families may compete with already-housed families for vouchers.

While the city has effectively eliminated homelessness among veterans, there were 220 homeless children in emergency shelters in Durham in the 2016–17 fiscal year, up from 172 the year before. (These figures don’t include those housed in domestic violence shelters.)

Across the country and in North Carolina last year, about one-fifth of people experiencing homelessness were under age eighteen. In Durham, families accounted for about 28 percent of the homeless population in 2017, down from 33 percent the year before.

“It’s hard trying to make sure you’re able to provide for your kids and keep a stable mind at the same time and try to figure it out,” Jane says. “Sometimes you just have to take it one day at a time and see where it goes from there.”

INDYweek.com | 3.7.18 | 9

I

n addition to the challenge of finding a job, Jane struggled to find a home she could afford, even with a $941 voucher.

Sometimes, she says, the difference came down to the cost of electricity, which is built in to a voucher’s value but often not into rent.

“Even though there are a lot of apartment complexes in Durham, it’s not easy finding one that will take a voucher,” she says.

Although the Durham Housing Authority’s allotment of vouchers had grown in recent years (though it has flatlined at 2,791 since 2016) and the number of landlords under contract has gone up, tenants and service providers frequently report difficulty finding a place.

Much of that has to do with the process, says Janet Xiao, codirector of the Community Empowerment Fund, which works to fill gaps in housing services.

Tenants with a voucher can search for a unit through several websites, but it’s up to landlords to post information about those properties. Volunteers at the CEF help voucher holders navigate the process and have found that many properties simply aren’t listed. As of this writing, one of those sites, GoSection8.com, had just one active listing in Durham with a fair market rent in line with the Nest Egg house—$990 per unit—or below.

While the number of landlords renting to voucher holders has increased from 135 in 2010 to 523 last year, that doesn’t necessarily reflect how the number of units is changing. According to Denita Johnson, DHA’s Housing Choice Voucher Program director, it takes voucher holders an average of 130 days to find a unit and execute what’s called a Housing Assistance Payment Contract with the landlord.

About 95 percent of DHA’s vouchers are being utilized, but that doesn’t include recipients whose vouchers expired before they used them. As of January 31, 125 voucher holders were looking for housing.

Research by the U.S. Department of Housing and Urban Development suggests that homeless families with vouchers fare better than families that receive other interventions.

A three-year study of twenty-two hundred formerly homeless families who were randomly assigned different housing and services found that “families offered a voucher continue to be significantly more food secure and experience significantly less economic stress than families offered the other interventions.” While heads of households with vouchers saw lower employment numbers, they also experienced less stress and substance use.

Children missed less school and daycare and exhibited fewer behavioral problems.

10 | 3.7.18 | INDYweek.com

Angel Vick-Lewis unpacks in her new home in Durham.

Homelessness and shelter stays were reduced, even when the study ended.

Because Durham’s rental market is so strong, there’s not much incentive for many landlords to take vouchers. They can get just as much or more from nonsubsidized renters than the fair market rent values HUD assigns to a voucher, all while avoiding the added bureaucracy of DHA inspections and the cost of bringing their properties up to snuff. Service providers also say there’s a stigma that voucher holders will be more likely to damage their units.

“That’s kind of what we saw as a real opportunity and need,” Skillern says. “We can make sure we’re providing four more units in that pipeline for homeless folks.”

L

eigh Ann and Aliyah Shores had been living in a two-bedroom apartment when their car broke down. Relying on public transportation to get to work, pick

Aliyah up from school, and get home, Leigh Ann couldn’t work enough hours to keep up with the rent. She started selling her belongings, but it wasn’t enough.

They got evicted.

“Anybody could be where I’m at. A couple paychecks away, anybody could me,” she says.

A spot at FMF opened up the day before they had to be out of the apartment.

“I was scared to death when I got there,” she says. “I had nothing. Basically I had sold everything I had trying to keep up with my rent, so when I got there, for about two, three weeks, I didn’t know what to do.”

Like her neighbors, she’s thrilled about her new apartment and all the stuff that comes with it (she says she nearly fainted when she saw the washer and dryer). But for these families, what this house represents goes beyond its walls. At least for now, giddy from the move, they seem energized. After months of uncertainty, they can picture their futures.

Leigh Ann plans to pick up more hours working at the embroidery company Royal Threads, put away her tax refund, and save up so she can pay rent in advance and buy a car. As soon as she can, Jane plans to start working as a school bus driver, save up for a car, and buy some clothes. Vick-Lewis’s eyes light up at the prospect of decorating her new apartment; her walls are already lined with family photos.

And she wants to get back to helping those in need.

“I understand what it means to be homeless more than when I helped people who were homeless,” she says. “I’m going to always give back to FMF. I’ve seen the needs and the wants firsthand. A lot of people come in with no hope, but if they listen to our stories of how we got out, maybe it will give them more oomph.” swillets@indyweek.com

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indyfood

HUMMINGBIRD

1053 East Whitaker Mill Road, Raleigh 919-301-8900 www.hummingbirdraleigh.com

Float Like a Hummingbird CHEF, RESTAURATEUR, AND ALL-AROUND BOSS LADY COLEEN SPEAKS CULTIVATES GOOD VIBES WITH HER RALEIGH CAFÉ AND COCKTAIL BAR

I

’m perched on a bright yellow stool, cupping a mug of coffee and admiring the sunlight spilling onto the white marble bar, when I hear a voice behind me.

“Are you hungry?” asks Coleen Speaks, the chef and owner of Hummingbird, a café and cocktail bar that opened last November at Dock 1053 in Raleigh.

“I haven’t eaten yet. Do you eat everything? Let me put in an order for a few things,” she says.

Our order includes the daytime-only sticky bun, whose tender dough and heady butterscotch sauce is everything I dreamed it would be. Noticing my obvious delight, Speaks says that to her, there’s nothing better than serving someone food and making them happy.

And it’s all the sweeter now that she’s fulfilled her lifelong dream of owning a restaurant. It’s what inspired her first job bussing tables at Massa’s, an Italian joint in her hometown of St. Louis, Missouri, and to move to New Orleans to pursue a degree in accounting at Loyola University, knowing that it would serve her well as a future business owner. After graduation, Speaks interviewed at three Big Six accounting firms but quickly realized that her interests lay elsewhere. She returned to restaurant life, honing her chef chops at restaurants like Emeril Lagasse’s NOLA and Bluebird Café.

After a decade in New Orleans, Speaks decided the Big Easy wasn’t so easy. In 2001 she moved to Raleigh, where her sister lived.

Speaks worked at places like Bloomsbury Bistro and under chef Ashley Christensen at Enoteca Vin, catering dinner parties on the side. Speaks’s personal life took off, too; she met and married her husband, bought a house, and started a family. As her family grew, so did her catering business. She rented a kitchen behind the restaurant Finch’s and, five months pregnant with her second child, officially launched PoshNosh Catering in 2007. Over the last decade, Speaks has earned a reputation as one of the most sought-after chef-caterers in the Triangle,

BY LAYLA KHOURY-HANOLD

Coleen Speaks PHOTO BY CAITLIN PENNA but her dream of owning a restaurant was always simmering.

“With catering, it’s just the food and the service,” she explains. “With a restaurant, you’re creating an experience with the aesthetic, the lighting, the vibe of the place … To me, that’s so important.”

Timing is everything. In 2014, when the North Carolina Department of Transportation told Speaks that they were demolishing Finch’s to redo the Capital Boulevard bridge,

they promised to either move PoshNosh or build her a new kitchen. When plans for a new catering kitchen at Dock 1053 became a reality, she seized the opportunity to lease neighboring property for an event space, Whitaker & Atlantic, and her long-dreamedof restaurant, Hummingbird.

With Hummingbird, Speaks has created a unique experience, but there are echoes of her PoshNosh philosophy throughout.

Everything on the stepped-up bar food

menu must be as pretty as it is delicious, highlighting seasonal ingredients and local businesses like Locals Seafood and Boulted Bread. It’s in the design details, too. Speaks spent several trips to New Orleans collecting the vintage glassware that elevates the signature cocktails and scouring flea markets for the portraits lining the dining room wall, which represent a broad variety of people.

“As I was selecting them and shopping for them, I would find a white male eighty percent of the time,” she says. “You really had to dig for the diverse ones.”

The wall’s diverse cast of characters reflects the “all are welcome” vibe that Speaks hopes to create, which is particularly relevant considering that Hummingbird’s bar and kitchen were formerly a segregated trucker bathroom for A&P grocery’s regional distribution center. The bathroom for African Americans had a separate entrance on the bar side, while the white bathroom was where the kitchen now stands.

The procession of portraits ends with a serious-looking woman who Speaks has nicknamed “boss lady.” With twenty-five employees spanning Posh Nosh, Hummingbird, and Whitaker & Atlantic, Speaks is serious about her own role as boss lady.

“It’s something I work on daily,” she says.

“To me, the most important part of being in charge is leading by example. I work hard around here; I want people working for me to notice that. And I want them to be happy.

Happiness to me is the key to everything— not just work.”

Speaks cultivates happiness by example, too. She’s quick to joke, gets animated talking about her Mardi Gras bash, and banters with her staff while refilling our coffee cups.

As we chat, regulars like Louis St. Lewis, who works out of neighboring studio Glas, asks to Instagram our breakfast spread. Speaks obliges and insists on feeding him a bite of sticky bun, then smiles contentedly when it elicits a look of pure pleasure. food@indyweek.com INDYweek.com | 3.7.18 | 17

indymusic Tragedy in Motion

A COMPUTER-GENERATED MULTIMEDIA OPERA IS PREMIERING AT DUKE. NOT EVEN ITS CREATORS KNOW WHAT’S GOING TO HAPPEN.

BY DAN RUCCIA

I

n Poetics, Aristotle defines tragedy as “the imitation of an action that is serious and also as having magnitude, complete in itself.” The operative emotion in tragedy, he explains, is the strangely pleasurable mix of pity and fear we feel for the protagonist, whose dramatic rise and fall, driven by a character flaw, gives the form its arc. That character must be relatable to the audience; if he or she is all good or all evil, then there is no sense of connection.

The concept of tragedy is at the heart of THE_OPER& (“The Operand”), a new opera by Duke University professors John Supko and Bill Seaman that has its world premiere this week. The two describe the work as a “meta-tragedy” or a “tragedy of tragedy.” Supko characterizes it as “playing with the Aristotelian machinery of tragedy or drama, but not being specific about it.”

To achieve that abstract distance, they take Aristotle’s elements of tragedy and blow them apart, so that the elements become subject of the work instead of the tale of a specific character.

THE_OPER& doesn’t have a plot in the traditional sense.

There are no zany capers, no dramatic confrontations, no deep investigations of love or loss, and no discrete characters.

Instead, the work is built around the cyclical creation and destruction of worlds at the hands of an omniscient computer, voiced by Seaman. Four times over the course of the opera, the computer, in conversation with the Lorelei Ensemble—a Boston-based all-woman vocal ensemble— wills a sound-and-video world into being, only to watch it fall apart in a grand cataclysm.

“The drama is, ‘How is the world going to turn out this time? How is it going to fall apart this time?,’” says Jim Findlay, the opera’s director. Each randomly generated world is unique, with its own peccadillos, so each collapses into noise and disorder in its own distinctive way.

18 | 3.7.18 | INDYweek.com

ILLUSTRATION BY STEVE OLIVA

The computer is more than just a character. It’s an equal partner in the creative process. While Supko and Seaman determined the overall architecture of the work, the computer’s algorithms make all the moment-to-moment decisions, selecting which videos to show on the four screens that line the stage, which texts the computer speaks, and which section of Anna Barker’s choreography the singers will perform.

“Imagine if, at every decision point in an opera, there were between twenty and a hundred possibilities,” Supko says.

“You have this constellation of possible outcomes and the meaning changes.”

THE_OPER&

Thursday, March 8-Saturday, March 10 Various times, $10–$28 von der Heyden Studio Theater, Durham www.dukeperformances.duke.edu

The only element that’s physically embodied on the stage is the Lorelei Ensemble, whose singing serves as the scaffold everything else swirls around. Thus, no two performances will ever be same.

Supko and Seaman spent three years constructing the sonic, textual, and video databases that make up the work and determining its overall form. With the computer’s help, they generated piles of texts, selecting ones they liked and tweaking the algorithm to create more in that vein. They did something similar for various musical elements, in a process Seaman calls “re-embodied intelligence” as opposed to wholly artificial intelligence.

“You take the sensibility of a person writing and then abstract that so that the computer can take on that role,” Seaman says. “I describe it is as loading the dice.”

With all these layers of abstraction, it would be easy for

THE_OPER& to devolve into a high-concept morass of freefloating ideas and wordplay for its own sake. But the form of tragedy serves as a rudder. The title has a double meaning: it implies that this is something beyond opera, but “operand” is also a mathematical term for the thing an operation is being performed upon. In this case, that thing is the concept of a tragedy. Interest doesn’t come from the tension of a tragic figure getting his or her comeuppance; instead, it grows from the knowledge of uncertainty—of the sense that anything could happen, and nobody, not even the people who created the work, has any idea what it will be. Knowledge of the opera’s abstractions and the structures that underlie them becomes the subject and source of tension and pleasure.

There’s a moment in a recent This American Life episode about magic when Penn and Teller are developing a new trick built around the mysterious motion of a ball on an invisible string. In its original conception, their illusion was pretty but abstract. Only when they made one aspect of the process apparent, telling the audience that it was a piece about a ball on a string, did the piece suddenly become meaningful to those watching.

THE_OPER& is after a similar sense of knowing magic.

Supko talks about those moments in the theater where all the actors and stage crew align and something amazing happens. Even its creators aren’t quite sure how all of THE_ OPER&’s conceptual pieces will fit together.

“What we’re interested in is that magical serendipity happening with the agency of the computer but without anyone sitting in the back of the hall intending for it to happen or preplanning anything,” Supko says.

For all of its lofty concepts and algorithmic approaches, its blurred lines between man and machine, THE_OPER& should have such magic in abundance. music@indyweek.com

music SORRY I still apologize for things I shouldn’t apologize for, but I do it less. Women are taught to not be in the way and to apologize, basically, for their existence—what they didn’t remember to do or what they didn’t foresee. It’s an unfair burden, and I’ve definitely felt that. I’m the kind of person that would apologize if you stepped on me. At some point, you have to say, “Do I have to apologize here?” It also lessens the impact of real, heartfelt apologies if all you’re ever saying is “sorry.” It was starting to become really damaging to me. I would apologize all the time and I didn’t know why. It didn’t make me feel strong.

Safe in Sound

JESSICA LEA MAYFIELD’S NEW RECORD IS AN UNYIELDING DOCUMENT OF SURVIVING DOMESTIC ABUSE

BY ALLISON HUSSEY

A

t the end of September—just days before the #MeToo movement against sexual assault and harassment broke out across social media—Jessica Lea Mayfield released her fourth solo album, Sorry Is Gone. The Ohio-born singer-songwriter has a strong footing in Americana-adjacent worlds, having grown up playing bluegrass. But Sorry Is Gone, a shimmering and occasionally twangy rock record, is hardly just another artistic entry for Mayfield. It’s her first record after escaping a violent domestic-abuse situation.

A few months before Sorry Is Gone hit shelves, Mayfield opened up in an Instagram post about getting out of an abusive relationship. The photo showed Mayfield smiling in a hospital bed, giving a thumbsup before heading into surgery for a threeyear-old shoulder injury—the result of a domestic violence incident, she said. Since then, she’s spoken openly about her experi-

Jessica Lea Mayfield PHOTO BY EBRU YILDIZ ences, encouraging others to seek help and speak out against their abusers.

Sorry Is Gone is a striking document of a woman in recovery. Mayfield addresses lingering aches and anxieties, but she suffuses her songs with glimmers of humor and hope. Ahead of her Tuesday-night gig in Carrboro, she discussed some of the record’s themes and getting back on her feet in the wake of a tumultuous few years.

VULNERABILITY I think with this album, it’s been something to see how people have connected to it and are relating to it. That’s been a surprise for me. I write these songs and I want people to feel like they’re not alone.

This time around, I feel like I’m not alone.

People will send things in to radio stations that I’m going to be at and ask, will you tell her this when she’s there? I’ll get emails and Instagram messages and comments.

People will talk to me at shows and tell me

their experiences and how thankful they are that I’m talking. It puts things in perspective for me. I went through a really isolating experience. You feel like you’re alone, but you’re definitely not.

ISOLATION When bad things are happening in your life, it’s easy to want to shield the other people in your life from that. While you’re doing that, they’re pulling away because you’re putting yourself in these negative and dangerous situations, and they don’t want to put themselves in a dangerous situation or condone that. You kind of isolate yourself and that pushes people back. I think it’s something that really contributes to the ability to be mistreated by others, too—when you don’t have a support system or anyone else in your life, and you feel like you’re a burden on everyone, it makes it easy for one person to be controlling.

#METOO I think it’s great that women are coming out and speaking against these people. I don’t think that we should have to, for one.

I hope that something comes from talking about it. There’s a shock value to women being abused and mistreated, and that makes it newsworthy. But I do hope that these conversations eventually help change things and make things safer and better for women, so we can just go to work and do what we want to do, and have fun and make music and live life and not have to feel like we’re a burden on everyone. You shouldn’t have to apologize for what other people do to you, and we’re still there.

CONNECTION I’m always kind of fascinated by human connection. I always have these really intense connections with people, which can end up being good or bad. But it’s always super right-off-the-bat intense. Connection kind of scares me because I know that it’s this insane fireball of a thing. The way that I make friends and meet people and meet lovers and anything like that, it ends up being like “Hi! We’re immediately best friends now!” I don’t know what it is about me that makes that happen, but it’s definitely an exciting and nerve-racking word. ahussey@indyweek.com

JESSICA LEA MAYFIELD

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artificer

Art Attack

OBAMA PORTRAITISTS KEHINDE WILEY AND AMY SHERALD’S WORK IS NEITHER RACIST NOR STRANGE. IT’S EVIDENCE THAT BLACK LIFE IN A WHITE SUPREMACIST COUNTRY IS NECESSARILY CONCEPTUAL.

BY BRIAN HOWE

P

residential portraits tend to be conservative affairs, but Barack and Michelle Obama were not the first First Family to choose artists whose style was at least as pronounced as their skill to capture them for posterity. Chuck Close, whose hand is immediately recognizable in the flurries of tiny marks that compose his photorealist images, painted Bill Clinton. If you were looking for presidential-portrait controversy, it wouldn’t be a bad idea to look at Close, whose reputation is in jeopardy after sexual harassment allegations against him surfaced late last year. But while Close’s picture of Clinton hangs untroubled in the National Portrait Gallery, controversy recently surrounded the first African-American artists invited into it.

Kehinde Wiley, a forty-one-year-old New York-based painter, was the main focus of the backlash, not for his vivid portrait of Obama (though Sean Hannity, in a bizarre and nowdeleted blog post, thought he found secret images of sperm hidden in the painting) but for something Wiley painted six years ago that conservative media and online commenters called racist. But Amy Sherald, a forty-four-year-old Baltimore-based painter, was also criticized for her cool, geometric take on Michelle Obama, which some deemed insufficiently lifelike.

Taste is taste, but presidential portraits are not regular art. Their purview is necessarily collective, not private; they can’t simply set and obey their own rules. Their aesthetics are inseparable from politics, and they inevitably become referendums on American vision and values. The ideas that Wiley’s art is racist and Sherald’s is not objective rest on a patently white supremacist view of what images mean in the context of Eurocentric art history—the very view Wiley and Sherald’s work is calibrated amid and against. The criticisms of the artists don’t hold water, but they are revealing of the systemic forces African Americans must contend with.

“Judith and Holofernes” (oil on linen, 2012) by Kehinde Wiley PHOTO COURTESY OF NCMA

The national outcry against Wiley found a significant site at our own North Carolina Museum of Art. In 2012, the museum purchased Wiley’s “Judith and Holofernes,” the offending painting. It’s one of two Wiley oil paintings depicting a fashionable black woman holding the severed head of a white woman, embedded in the vibrant floral heraldry that famously suffuses his portraits, including that of Obama. “Judith and Holofernes” is based on an art historical reference that has been rendered by Europeans from Donatello to Botticelli over the centuries; it bears no direct relation to the presidential portrait. But based on some responses, you’d think Wiley had painted Obama cradling the severed head of Donald Trump.

Last month, when NCMA used the unveiling of the Obama portraits to proudly highlight the Wiley work in its collection, there was enough positive response to sustain hope for the American capacity to appreciate challenging art. But there was also more than enough negative feedback, some overtly racist, to cause alarm.

painting, but if it changed anyone’s mind, there was no evidence of it.

“This needs no ‘context’! A black person beheading what looks like a white child is not art,” tweeted @Rebel_Front. “It is a threat.”

That last part might be the only thing the naysayers are right about. But the picture is not a threat of actual violence. Rather, it’s a symbolic threat to white supremacy. Wiley, who is known for painting contemporary African-American men in a heroically proportioned Renaissance style, is bending a violent image from art history—which is rife with them, and no one hears conservative commenters decrying the many depictions of the rape of the Sabine women, for instance— to the needs of a country that is reexamining the violent underpinnings of even its most benign-seeming traditions.

Wiley’s painting, like many before it, is based on a story in the Biblical Book of Judith, which Protestants consider apocryphal, in which a beautiful widow gets an invading general drunk and decapitates him. In the paintings of yore, the scene was often used

This mandate, combined with the urgency of the issue, is why it is not only OK but necessary for Wiley and others to paint images that shock us. As for whether it would be OK were the races in the painting reversed, no, of course not. Not only is it absurd to expect “fairness” toward white people after centuries of grotesque unfairness toward black people, but any such parallel, presuming a level playing field, is nonsense. An existentially threatened population depicting violence against a dominant one is not morally the same as the opposite. It’s the difference between resistance and tyranny.

Wiley and Sherald are part of a current African-American vanguard, descended from the likes of Barkley L. Hendricks, who are decolonizing the Eurocentric canon and redefining black representation on their own terms. Sherald does this in her unique way in her portrait of Michelle Obama, which may not have the warm grandeur traditionalists crave from First Family portraiture but which powerfully represents the careful neutrality African-American

“An existentially threatened population depicting violence against a dominant one is not morally the same as the opposite.

It’s the difference between resistance and tyranny.”

According to the museum, it received a steady stream of calls, Facebook messages, and emails from appalled citizens who wanted to know how the museum would feel about the painting if the races were reversed.

These private complaints found plenty of public expression on social media. A Twitter user called Billy Anderson (@Bloody__Bill), whose feed is textbook alt-right, captured the prevailing sentiment of the detractors when he asked, “If he painted a white woman brandishing the head of a black woman…. can you imagine the outrage?” (When NCMA tweeted a picture of a three-year-old African-American child during a Black History Month tour, Anderson also tweeted back a horrifically racist cartoon.)

Others complained, if usually in less vituperative terms, on NCMA’s Facebook and Instagram pages, making plangent or indignant comments about the museum condoning racial violence. NCMA repeatedly replied with a blog post explaining the context of the

patriarchally, illustrating the danger of feminine wiles. But Wiley hijacks it for completely different purposes. Look at it this way: Judith is able to destroy a hostile, more powerful entity with his desire for her. By recasting Judith as a black women and Holofernes as a white woman, Wiley turns the story into an explosive comment on how white culture’s own lust for and rapine of black culture might be turned against it.

Is this idea revolutionary? Yes, by definition. Is it frightening? Of course. Revolutions always are. But it does not suppose anything about the nature of a certain race. Rather, it vividly describes, with an aggression that is quite understandable if you take the merest glance at history, a real condition of modern American life: a deeply ingrained social structure of white vampirism on black culture and labor. It is racist to describe a race, but it is not racist to describe the world as we find it.

If the image is shocking, well, art has to get your attention in order to do anything.

women must cultivate to be taken seriously and stay safe. Like Wiley’s Barack Obama portrait, it represents new ways of seeing that must be accepted into whatever default purists have in mind if we’re to keep nudging the American scales toward equality and justice.

Why did the first African-American First Family choose artists that were conceptual rather than strictly representational?

Because they have great taste, for one, but also because black life in America is necessarily conceptual. It has to be to create space in an oppressive dominant culture—one built on condoned racial violence—that representation alone merely replicates. When the baseline of reality is considered white by the powers that enforce those borders, you need something more than simple reality to make yourself seen, heard, and felt in your authentic humanity. You need the piercing subjective vision of a Wiley or a Sherald. bhowe@indyweek.com

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indyscreen

Science Friction

EVERYONE’S EXCITED ABOUT A WRINKLE IN TIME BECOMING A FILM—BUT WOULD ITS AUTHOR BE?

BY ZACK SMITH

O

intellectual tradition in that faith, and that was part of what ver eggs Benedict at Durham’s Guglhupf Bakery, drew me to her: we had a similar intellectual vision that came former Duke writing teacher Christina Askounis is to an intersection of science and religion, and an interest in trying to describe her decades-long association with cosmology.” the author behind some of the strangest, most beloved chilThe combination of science and religious allegory in dren’s fantasies ever.

L’Engle’s work resulted in blowback from some religious “It wasn’t quite a friendship, but more than an acquainorganizations, which sought to have her work banned. tance,” Askounis says. “A mentor, in some ways. Whatever you want to call it, it was something for which I’m tremendously grateful.”

Askounis, who retired from Duke last year, is talking about the late Madeleine L’Engle, author of the classic 1962 novel A Wrinkle in Time. An offbeat combination of science fiction, fantasy, and religion wrapped in a coming-of-age story, it’s the tale of a young girl guided by cosmic beings to save her scientist father from an evil force on a distant planet. It predated the likes of Harry Potter by decades, winning the coveted Newbery Medal and the occasional ban from school libraries for its allegorical look at good and evil.

Asheville cartoonist Hope Larson created a best-selling graphic novel adaptation of it a few years ago, and now, there’s Disney’s $103 million film coming out this Friday, directed by Ava DuVernay (Selma), with an all-star Oprah Winfrey in A Wrinkle in Time PHOTO COURTESY OF DISNEY cast including Reese Witherspoon, “That always surprised me, because I thought, wrongly, Oprah Winfrey, and North Carolina’s own Zach Galifiankis. that Christians would have loved to have this spectacular In the early seventies, Askounis certainly didn’t have Disnovelist writing for young people,” Askounis says. “She’s ney’s resources when she scripted a few low-budget adaptamuch less religious than C.S. Lewis in The Chronicles of tions of scenes from the book for Maryland Public Television.

Narnia, but it suffuses the work. It’s there if you’re looking (She still has the production on “massive video tapes” she has for it.” never converted to digital format.)

The two remained in touch after Askounis moved to “It was part of a series to be shown in schools to encourage Durham in 1984, regularly exchanging letters and children to read,” Askounis says. “Madeline came to Owings occasionally meeting up for religious and writing retreats.

Mills to videotape a little introduction to the program, and L’Engle sometimes visited the area (I vividly remember that’s how I met her for the first time.” getting her to sign a book at Durham’s Intimate Bookshop L’Engle and Askounis’s paths crossed several more times when I was ten) and even provided a rare blurb for over the next few years, first at a writers’ conference in Askounis’s 1993 novel, The Dream of the Stone, a YA fantasy Bloomington, Indiana, then at an Episcopal retreat in New with several parallels to Wrinkle.

York City. “She was a staunch Anglican Episcopalian. Her “I had the audacity to ask her if she would read it. I think if office was in the Cathedral of St. John the Divine for a I’d been a little older at the time, I probably would have been long time,” Askounis says. “The three pillars of the Anglitoo afraid to ask,” says Askounis, who’s currently finishing a can Church are tradition, faith, and reason. There’s a strong 22 | 3.7.18 | INDYweek.com

new adult novel set on the Outer Banks. “She told me, ‘I will give you a reader’s reaction, not an editorial reaction.’ I will always be so grateful for that generosity.”

L’Engle, who passed away in 2007, was wary of her works being adapted to film. Of a critically derided The Wonderful World of Disney version of Wrinkle that aired in 2004, she was quoted as saying, “I expected it to be bad, and it is.”

“I asked her one time, before she sold the film rights, if she would like to see A Wrinkle in Time made into a movie,” Askounis says. “She said she was unhappy that she would not have creative control—that no one would let her have veto power over what they were doing. There are very few adaptations I feel live up to the books, with fantasy especially. The film looks exciting—certainly, the director is remarkable—but there’s many ways it could go wrong.”

That said, Askounis believes L’Engle would have had no problem with the most controversial change the film makes to the book: its protagonist, Meg Murry, is a biracial child played by Storm Reid, and the film has an overall Afrofuturist vision that should get a strong tailwind from Black Panther. This has sparked outrage from groups complaining about “social justice warriors” and the “appropriation” of traditionally white characters through diverse casting.

“As far as the appropriation issue goes, [L’Engle] would absolutely have spoken out in defense of the fiction writer’s right to inhabit the consciousness and being of any other character, no matter how different from herself,” Askounis says. “That’s just an imaginative leap that all writers make.”

Askounis hopes that, no matter how the final film turns out, it draws people back to L’Engle’s work and the messages within.

“I think that it’s a very timely story, to have a young girl confronting the forces of evil,” Askounis says. “I keep thinking of Emma González, the Parkland shooting survivor. Young people like her are the real-world equivalent of a L’Engle heroine. There are young people today who need stories about standing up to darkness and winning—and understanding the price of victory.” arts@indyweek.com

screen Mourning with Dignity

IN SEBASTIÁN LELIO’S SUPERB OSCAR WINNER, A BEREAVED TRANSGENDER WOMAN IN CHILE FIGHTS FOR HER PERSONHOOD

BY LAURA JARAMILLO

S

PHOTO COURTESY OF SONY PICTURES CLASSICS

ebastián Lelio’s A Fantastic Woman is a melancholy and philosophical portrait of a transgender woman’s fight to mourn her partner’s death with dignity. At the beginning of the film, we meet Marina (Daniela Vega) and Orlando (Francisco Reyes), a happy May-December couple living in a posh apartment in Santiago, Chile. When Orlando suddenly dies, Marina is forced into various confrontations with her partner’s family as well as with the state, which does not recognize Marina’s gender, much less her right to be treated as her lover’s kin. Throughout the film, Marina’s struggle to partake in the smallest tokens of mourning, like attending Orlando’s funeral, becomes a fight for existence itself.

Through a succession of the smallest aggressions and the most debasing indignities, we witness Marina’s repeated assertions of her personhood. With cinematographer Benjamín Echazarreta’s camera often trained on the protagonist’s face, the film is a study in Vega’s superb expressiveness. Her face registers exquisite sensitivity through the blankness of traumatic shock while also transmitting a palpable warmth and wit.

Rapidly displaced from her formerly protected life, Marina is pushed further and further to the margins of the city. Long tracking shots capture her lanky form walking through

immense terrain, from glittering urban skyscrapers to graffiti-strewn peripheral neighborhoods, and we notice how starkly urban space indicates who is included and who is excluded, who is normal and who is abnormal, who gets to be a citizen and who does not.

In the ugly attacks that Marina withstands, the film also reminds us that Chile’s history of fascism, not fully in the past, still finds expression in patriarchal rage against so-called aberrant gender expressions. The desire to torture, punish, and control perceived deviants’ movements lives on in the most intimate aspects of family life and the most quotidian routines of bureaucrats and law enforcement.

Despite the film’s unflinching portrayal of the realities of transgender life in Chile, it’s no miserabilist paean to suffering. The delicate violin score and crisp cinematography underscore Marina’s unyielding will to live. If one of the defining tropes of the twentieth-century art film was a glamorous, alienated woman walking across war-ruined European metropoles, Marina might be the defining figure of the twenty-first century: a woman fiercely holding on to her personhood when multinational capital has determined humans on the global periphery to be basically disposable. arts@indyweek.com

A FANTASTIC WOMAN | ½ | Opening Friday, March 9 INDYweek.com | 3.7.18 | 23

Adults are Needed for Research Study The US Environmental Protection Agency invites adults (age 18 or older) who are residents of the Raleigh-Durham-Chapel Hill area to participate in a research study of environmental and behavioral factors that affect health status. Participation requires a single visit to the US EPA Human Studies Facility in Chapel Hill, NC where blood and saliva samples will be collected and participants will undergo a simple medical examination and fill out a questionnaire. Participants will receive a $100.00 payment for their time. If you are interested, please call us at 919-966-0604 to learn more about this study or visit www.epastudies.org.

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ad The Herald-Sun turned into The Onion or had Durham turned into Portlandia?

I’m sure I wasn’t the only one who wondered this a couple of weeks ago, when the paper reported that national chain Urban Axes (my god, just the name, you can almost smell the beard wax) is headed for Foster Street this summer. The concept? Grab a beer or eight and then hurl actual freaking axes at—with! I mean with!—dozens of other tipsy tech bros. It’s like darts but with deadlier implements that nobody has a clue how to throw. What could go wrong?

We have a lot more questions, such as “What!,” “WHY,” and “Can’t. Even.” Most important, is there a single worse idea in all creation? Let’s see.

Oxygen bar with flamethrowers Aromatherapy and pure mayhem for the price of one. Show up early, because it’s going up in a ball of fire almost immediately.

Beer garden with beekeeping The hoppiest IPAs and the sting-iest bees await in a gracious apiary. Entry is free, but mask and smoker rental costs $100.

(Worth it, especially on “Wasp Tuesdays.”) #BYOBakingSoda.

Waterpark with goats You can do yoga with goats, so you might as well take one bombing down the Trip-Trap Rapids or whatever. That’s what the world is like now, nothing makes sense, you can just do anything.

Tapas with chainsaw juggling When your inner lumberjack tires of Urban Axes, sample small plates and juggle big saws in an elegant dining room with an open kitchen and discreet troughs for blood runoff.

Weed café with sitar rentals Now wait a damn minute. Is this actually the best idea ever?

Wine bar with swine flu “I’m getting pear, clove, fresh grass, butter, tobacco, and … smack smack … yes, just a note of swine flu,” is the sort of comment you’ll overhear at this oenophile’s paradise and probable place of death.

24 | 3.7.18 | INDYweek.com

ILLUSTRATION BY CHRISTOPHER WILLIAMS

BY BRIAN HOWE

Bottle shop with shovels Drink those miniature Miller High Lifes out of an Igloo cooler stuck in a dirt floor while enjoying hours of backbreaking digging.

(This one will be engulfed in scandal when it turns out to be a scam to get free labor for a construction project.) bhowe@indyweek.com

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NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED ORANGE GROVE ROAD EXTENSION IN HILLSBOROUGH FROM EXISTING ORANGE GROVE ROAD (S.R. 1006) TO U.S. 70A ORANGE COUNTY TIP PROJECT NO. U-5848

ILLUSTRATION BY CHRISTOPHER WILLIAMS

The N.C. Department of Transportation will hold a public meeting regarding the proposed project to extend Orange Grove Road from existing Orange Grove Road (S.R. 1006) to U.S. 70A in Hillsborough. The meeting will take place on Monday, March 19, 2018 from 4 p.m. to 7 p.m. at the Orange County Main Library, Large Meeting Room located at 137 West Margaret Lane in Hillsborough.

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The purpose of this project is to reduce delays for vehicles traveling into Hillsborough, and to improve connectivity by providing a new east-west route through town. The purpose of the public meeting is to provide information on the project and gather input from the public on the proposed designs.

The public may attend at any time during the above mentioned hours. NCDOT representatives will be available to answer questions and listen to comments regarding the project. The opportunity to submit comments will also be provided at the meeting or via phone, email, or mail by April 6, 2018. Comments received will be taken into consideration as the project develops. Please note that no formal presentation will be made.

Project information and materials can be viewed as they become available online at http:// www.ncdot.gov/projects/publicmeetings.

For additional information, contact Gene Tarascio, NCDOT Project Planning Engineer by mail: 1582 Mail Service Center, Raleigh, NC 27699-1582, by phone: (919) 707-6046, or via email: gtarascio@ncdot.gov.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Caitlyn Ridge, P.E., Environmental Analysis Unit via e-mail at ceridge1@ncdot.gov or by phone (919) 707-6091 as early as possible so that arrangements can be made.

Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494.

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle Coming March 21:

Chapel Hill

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 3.7.18 | 25

WHAT TO DO THIS WEEK TUESDAY, MARCH 13–SUNDAY, MARCH 18

THE WIZARD OF OZ

Name recognition is the main factor that entices theatrical talents to take on The Wizard of Oz. But it also makes most them think twice. How do you hold your own against, much less top, the iconic performances or the budget-busting sets and special effects of the beloved 1939 MGM film? That’s why a very conspicuous few, including Andrew Lloyd Webber, have attempted a stage version in recent years. To be clear, the touring production copresented this week by NC Theatre and Broadway Series South isn’t Webber’s recent revamp (that one opens next month in Adelaide, Australia). Instead, it’s the Paper Mill Playhouse production, which starred Mickey Rooney as the Wizard and Eartha Kitt as the Wicked Witch of the West during its month-long stand at Madison Square Garden in 1998. A cast of young New York actors pumps fresh blood into the classic tale. —Byron Woods MEMORIAL AUDITORIUM, RALEIGH 7:30 p.m. nightly/2 p.m. Sat. & Sun., $26–$98, www.nctheatre.com

The Wizard of Oz PHOTO COURTESY OF WIZARDOFOZTOUR.COM SATURDAY, MARCH 10

FRIDAY, MARCH 9–SUNDAY, MARCH 25

9TH INCARNATION NIGHT ONE

FRAMING THE SHOT

KINGS, RALEIGH | 8 p.m., $10–$12, www.kingsraleigh.com

SONOROUS ROAD THEATRE, RALEIGH | Various times, $20–$25, www.sonorousroad.com

Sound and recording engineer Jerry Kee holds an esteemed place in the local music community. For well over twenty years, he’s been a go-to guy for local bands looking to cut a quality recording without breaking the bank, with a roster that includes Superchunk, Two Dollar Pistols, Polvo, Schooner, and several dozen others; through that spell, Kee has had eight different iterations of Duck Kee. But at the end of January, a fire struck Kee’s home and studio, destroying almost everything. A crowdfunding effort has raised a few grand to help get Kee back on his feet, and several friends of Duck Kee have organized a benefit at Kings. The Saturday night show features The Vibe Killers, The Church, Pinto, Phatlynx, and Soft Boys, and on March 17, the venue hosts another rally for Kee that features The Bellbats, Maldora, Dana Kletter, and more. Duck Kee might not be a cat, but a ninth life is well-deserved. —Allison Hussey

26 | 3.7.18 | INDYweek.com

Did you catch the recent Facebook video in which a cat was carefully petting a bird?

Framing the Shot is a little like that: a comedy about characters playing against their perceived type. In its original version, which emerging playwright Allan Maule directed in Chapel Hill in 2006, a professional gunman indulged in some male bonding and unlikely sensitive-guy behavior before committing a professional faux pas that made him reexamine his choice of careers. One decade later, when Sonorous Road artistic director Michelle Murray Wells read the script, she wondered what would happen if the gender of the main characters were flipped, and the work became an inquiry into the finer points of etiquette among women with guns instead. Maule signed on for the switch; we’ll see the outcome when Ira David Wood IV directs Wells, comic actor Lorelei Lemon, and Patrick Whalen. —Byron Woods

3.7–3.14

Adrianne Lenker

PHOTO COURTESY OF GROUND CONTROL TOURING

FRIDAY, MARCH 9

ADRIANNE LENKER, NICK HAKIM

In barely two years, Adrianne Lenker has released two of the best indie rock records of the decade with her band, Big Thief. The Brooklyn group’s debut LP, 2016’s Masterpiece, lived up to its title, and last year’s Capacity managed to one-up it. The band’s instrumental constructions are striking, but its true power comes from Lenker’s breathtaking songwriting. She explores weighty subjects from her own life—heartbreak, abuse, loss—but approaches them with empathy and grace, turning pain and uncertainty into utterly gorgeous songs. If you count yourself among the tenderhearted, Lenker’s songs are a salve and sucker punch all in one.

Nick Hakim, meanwhile, leans into hazy, semi-psychedelic rock that borrows liberally from soul. It’s relaxed and easygoing, dreamy enough that you’ll feel like floating away to the sounds of Hakim’s intimate introspections. He performs second, and Molly Sarlé opens with a spellbinding set of her own. —Allison Hussey MOTORCO, DURHAM | 8 p.m., $13–$15, www.motorcomusic.com

WHAT ELSE SHOULD I DO?

AIN’T MISBEHAVIN’ AT NRACT (P. 34), THE BIPEDS AT SHADOWBOX STUDIO (P. 36), PHIL BLANK AT HORSE & BUGGY PRESS (P. 32), JOHN HART AT FLYLEAF BOOKS (P. 36), JESSICA LEA MAYFIELD AT CAT’S CRADLE BACK ROOM (P. 19), THE_OPER& AT VON DER HEYDEN STUDIO THEATER (P. 18) INDYweek.com | 3.7.18 | 27

3/7 LP W/ NOAH KAHAN ($22/$25) 3/9 SENSES FAIL W/ REGGIE AND THE FULL EFFECT, HAVE MERCY, HOUSEHOLD

RECYCLE THIS PAPER

3/10 TRIBUTE TO DOLORES O'RIORDAN, WITH MUSIC OF THE CRANBERRIES PERFORMED BY LOCAL ARTISTS INCLUDING SKYLAR GUDASZ, MEMBERS OF BLUE CACTUS & MORE!

3/21 MOOSE BLOOD W/ LYDIA, MCCAFFERTY ($18/$22) 3/23 of MONTREAL W/ MEGA BOG ($17) 3/24 TIMEFLIES: TOO MUCH TO DREAM TOUR ($25) 3/28 CRANK IT LOUD PRESENTS: OUR LAST NIGHT W/ I THE MIGHTY, DON BROCO, JULE VERA 3/30CIGARETTES AFTER SEX ($20/$23) 4/2 CRANK IT LOUD PRESENTS: UDO DIRKSCHNEIDER WED RECENTLY 3/7 THEANNOUNCED: RoddyWAVE Radia/tiJesse on (of The Speci/alsRachel ), MysticPrice Bowie’s Talking Dreads , WIND + THE Ruben @ 8:00 PM, Tracyanne & Danny (featuringWED TracyanneJUN Campbell of29 Camera & Danny Coughl$12/$15 an of Crybaby) WED JUN 29 @Obscura 8:00 PM, $12/$15

RICHIE RAMONE w/ w/ POISON POISON ANTHEM ANTHEM RICHARD RICHARD BACCHUS BACCHUS & & THE THE LUCKIEST LUCKIEST GIRLS GIRLS

THE WIND +HOMEWARD THE WAVE W/ JESSE RUBEN, RACHEL PRICE FRI // THE FRI 7/1 7/1 LOOK LOOK HOMEWARD THE MIDATLANTIC MIDATLANTIC

ADRIANNE LENKER (of Big Thief) / NICK HAKIM / Molly Sarle SOLD OUT TUE It NOTHING // CULTURE ABUSE TUE3/10 7/5 7/51pm Crank Crank It Loud: Loud: SAT Motorco Madness: A BenefiNOTHING t for Powe CULTURE ABUSE WAILIN STORMS // HUNDREDFTFACES The Beast / Poetry Fox WAILIN/ Kamara STORMSThomas HUNDREDFTFACES SAT 3/10 SOUTHERN CULTURE ON THE SKIDS / TheofShoaldiggers FRI FRI 7/8 7/8 SolKitchen SolKitchen & & The The Art Art of Cool Cool Project: Project: The The Art Art of of Noise Noise #Durham #Durham THU 3/9

MON SAT 3/107/11 MON 7/11 Regulator Regulator Bookstore Bookstore presents presents

HEATHER HAVRILESKY: Polly HEATHER HAVRILESKY: AskTHE Polly Live LiveSKIDS SOUTHERN CULTURE ONAsk

W/TUE THE SHOALDIGGERS 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS

TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS

MON 3/12 Flash Chorus: “Should I Stay Or Should I Go” By the Clash

by Ra Ra Riot Durham, THU Storymakers: THU 7/14 7/14and “Water” Storymakers: Durham, Community Community Listening Listening Event Event

TUE 3/13 Periodic Tables: The Intersecting Realities of Air Science and Policy:

SAT PINKERTON through the EPARAID Prism // ST. SAT 7/16 7/16Looking PINKERTON RAID ST. ANTHONY ANTHONY && THE THE MYSTERY MYSTERY TRAIN TRAIN WED 3/14 Spring Peoples Alliance PAC candidate mixer SUN SUN JUL JUL 17 17 @ THU 3/15 MACTHE SABBATH / Mega Colossus @ 8:00 8:00 PM PM THE RAGBIRDS RAGBIRDS $12/$15 $12/$15

MAC SABBATH THE RAGBIRDS MON MAIL THE HORSE FRI 3/167/18 BRASS BAND / The Get Right Band MON 7/18REBIRTH MAIL THE HORSE

4/10 AND 4/11 YO LA TENGO ($22/$24) 4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20) 4/14 DUMBFOUNDEAD: THE YIKES! TOUR ($18/$22)

JOHN COWAN REBIRTH BRASS BAND JOHN COWAN

w/ && BROOKE ALDRIDGE w/St.DARIN DARIN BROOKE ALDRIDGE Patricks Day Extravaganza with Duck Duck Goose 5pm (at Parts & Labor)

W/ THE GET RIGHT BAND

S D R I B G A R E TH SAT 3/17

SAT & Emporium Presents THE NOSLEEP PODCAST SAT3/177/23NS2 Girls Rock Showcase

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op Ma er s -P FRI YOUNG BULL Release Show THU / Treehouse -P op Ma tt el er s" FRI3/227/29 7/29IYA TERRA YOUNG BULL Album Album s"Show avRelease

tic tr tr av el er ar tis e tic at w/ ALIX AFFtis DURTY DUB e ar su mm FRI at GANGSTAGRASS //Durty Dub’s “Charley Pride Tribute” on3/23 "C "C on su mm w/ ALIX AFF / DURTY DUB

VESPERTEEN / VINYL THEATRE / The New Schematics SUN JUL17 COMING SOON: LEWIS, YARN, JARED && THE MILL, SUN JUL17 COMING SOON:ofJULIETTE JULIETTE LEWIS, another YARN,bangin’ JAREDshow THE MILL, SUN 3/25 School Rock Cary presents WINDHAND, including hits you know HAL KETCHUM, LIZ Doors: 7pm HAL KETCHUM, NRBQ, LIZ VICE, VICE, Doors: 7pm and love NRBQ,

by Aerosmith, variousWINDHAND, New Wave and Grunge bands, and much more!

CODY Show: 8pm CODY CANADA CANADA THE DEPARTED, DEPARTED, RUSSIAN RUSSIAN CIRCLES, CIRCLES, BAND BAND OF OF SKULLS, SKULLS, Show: 8pm&& THE COMING SOON: JOAN SORIANO, EMELINE MICHEL, BETSAYDO MACHADO Y LANCPARRANDA EL CLAVO, SISTER SPARROW && THE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE DURHAM, MOTORCOMUSIC.COM SISTER SPARROW THE DIRTY BIRDS, KING, $12 723 RIGSBEE AVE - DURHAM, NC - MOTORCOMUSIC.COM TRIODOYLE DAADV KALI MALI, TWIN PEAKS, THE DISTRICTS, JAPANESE BREAKFAST, TAYLOR BENNETT, LAWSON && QUICKSILVER, THE RECORD COMPANY, ADRIAN LEGG, DOYLE LAWSON QUICKSILVER, THE RECORD COMPANY, ADRIAN LEGG, $15 DAY OF BOULEVARDS, CHRIS AFTER FUNK, WAXAHATCHEE, HURRAY FOR THE RIFF RAFF, $15 DAYBRASS OFKNIGHT, REBIRTH BAND, MY BRIGHTEST DIAMOND, KARLA BONOFF, BAND, LUKENS, MY BRIGHTEST DIAMOND, BONOFF, !!

THEREBIRTH WAR & THEBRASS TREATY, WALKER THE NTH POWER, SURFERKARLA BLOOD, THE EAST POINTERS, W O N W LE O B N A IL LE A B TALIB KWELI, LOUDON WAINWRIGHT III V A SKINNY LISTER, CHANTAE CANN, ALVVAYS, HOP ALONG, TOMORROWS BAD SEEDS, FRANKIE ROSE, A M TALIBEKWELI, LOUDON U VIIIAIL LB M A UWAINWRIGHT LB N A H"" KOALA, HAMMERFALL, POND, ABORTED,TDARK TRANQUILITY WKIDA TH H RT NEW E AR HE EA HE & H T LD O & H S LD E O R H H S T E THRE - DURHAM, NC - MOTORCOMUSIC.COM "T E RIGSBEE H723 "TH 723 RIGSBEE AVE AVE - DURHAM, NC - MOTORCOMUSIC.COM SAT 3/24

The Threshold & The Hearth THE RAGBIRDS The Threshold & The Hearth THE RAGBIRDS

SENSES FAIL SA 3/10

LET IT LINGER: A TRIBUTE TO DOLORES O'RIORDAN & THE CRANBERRIES FEATURING MEMBERS OF: BLUE CACTUS, CANINE HEART SOUNDS, DALE BAKER, SKYLAR GUDASZ, CHESSA RICH, RACHEL KIEL, LIBBY RODENBOUGH, AND ANDREW ANAGNOST

CAT'S CRADLE BACK ROOM

3/7 SONREAL W/ DAVIE AND NANCE ($15/$17) 3/8 PRONOUN AND MICHAEL NAU & THE MIGHTY THREAD (COTTON JONES) 3/9 VUNDABAR W/ RATBOYS, GHOSTT BLLONDE ($10/$12) 3/10 JON STICKLEY TRIO ($10/$12)

4/16 WOLF ALICE W/ THE BIG PINK ($18/$20)

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

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

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

4/21 YUNG GRAVY

SOLD OUT

4/22 JOEY BADA$$ W/ BUDDY AND BOOGIE ($26) 4/24 THE MAINE W/THE TECHNICOLORS ($23/$25)

FR 3/9 @CAT’S CRADLE BACK ROOM

VUNDABAR

4/5 THAT 1 GUY ($15) 4/6 GRIFFIN HOUSE

4/15 SABA ($16/$18)

4/20 SUSTO ($12/$15)

WE 3/7 @CAT’S CRADLE BACK ROOM

FR 3/9

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

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

FRI FRI JUL JUL 22 22 @ @ 8:00 8:00 PM PMJOHN JOHN COWAN COWAN FRI$25/$30 3/16 $25/$30

28 | 3.7.18 | INDYweek.com

4/7 HILLMATIC 2018 FT. BRAND NUBIAN, RAPPER BIG POOH, DJ FLASH ($20 ADV/ $25 DAY OF)

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

W/ MEGA COLOSSUS

M OM CO S. C D S. RD B II R GB AG RA ER HE W .T H W .T WW WW

4/6 SARAH SHOOK & THE DISARMERS W/ SPIDER BAGS ($12/ $14)

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

THU 3/15

SAT 7/23 Girls Rock Showcase SUN 3/18 WILD CHILD / Family & Friends TUE Motorco Comedy Night: TUE3/207/26 7/26PORCHES Motorco TUE / Girl RayComedy Night: ANDY WOODHULL / ADAM COHEN ANDY WOODHULL WED 3/21 HOLLIE COOK / Dub Addis plus DJ/ ADAM Bug Spray COHEN

4/3 ROGUE WAVE PERFORMING ASLEEP AT HEAVEN'S GATE ($17/$20)

J BOOG

SONREAL

3/13 J BOOG W/JESSE ROYAL, ETANA ($20) 3/16 DIALI CISSOKHO & KAIRA BA AND THE OLD CEREMONY ($10/$12)

WED 3/7

TU 3/13

3/17 THE BAD CHECKS AND DEX ROMWEBER 3/18 MEN I TRUST ($10/$12)

4/7 JPHONO1 AND THE CHEVRONS W/SHELLES, HECTORINA, AND HONEY DUCHESS ($6/ $8) 4/9 KATE RHUDY AND THE BROTHER BROTHERS ($8/$10) 4/10 MESSTHETICS W/THE BRONZED CHORUS, ELVIS DIVISION ($10) 4/11 TRAVIS MARVIN WITH JAKE JANDREAU ($20) 4/12 MO LOWDA & THE HUMBLE ($10/ $15 FOR 2 TIX) 4/13 TYRONE WELLS W/ GABE DIXON ($15) 4/14 HARDWORKER W / RUN COME SEE, RACHEL KIEL ($8/$10) 4/17 THANK YOU SCIENTIST ($15) 4/19 WEAVES W/ STEF CHURA ($10/$12)

3/19 BORN RUFFIANS W/ FLEECE

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

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

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

3/21 COURTNEY MARIE ANDREWS W/ MAT DORRIEN ($12/$14) 3/22 MARTI JONES & DON DIXON ($15- SEATED SHOW) 3/23 KYLE CRAFT W/ERIE CHOIR

4/27 DEAD HORSES AND FRONT COUNTRY ($14) 4/28 LOMA W/ JESS WILLIAMSON ($12/ $14) 5/4 CAITLIN ROSE W/ THE KERNAL ( $10/$12)

TU 3/13 @CAT’S CRADLE BACK ROOM

JESSICA LEA MAYFIELD 5/5 ALVVAYS W/ FRANKIE ROSE

SOLD OUT

5/7 HOP ALONG W/SAINTSENECA ($15/$17) 6/3 POND W/ FASCINATOR ($15) 6/15 TRACYANNE & DANNY (TRACYANNE CAMPBELL FROM CAMERA OBSCURA AND DANNY COUGHLAN FROM CRYBABY) ($18/$20) ARTSCENTER (CARRBORO)

3/21 NEIL HILBORN ($15/$20) 4/20 GREG BROWN ($28/$30) LOCAL 506 (CHAPEL HILL)

5/5 ROLLLING BLACKOUTS COASTAL FEVER ($10/$12) THE RITZ (RAL)

4/6 RAINBOW KITTEN SURPRISE 4/7 RAINBOW KITTEN SURPRISE

SOLD OUT

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/ LUKASLD NELSON & PROMISE OF THE REAL SO OUT 5/13 OH WONDER 5/15 TRAMPLED BY TURTLES W/ HISS GOLDEN MESSENGER 610: TASH SULTANA 6/27 BEACH HOUSE (ON SALE 3/9) KINGS (RAL)

3/30 SORORITY NOISE W/ REMO DRIVE, JELANI SEI ($17/$20) 4/5 THE MESSTHETICS W/ MOTHERFUCKER, PATOIS COUNSELORS ($10/$12) RED HAT AMPHITHEATRE (RAL)

3/24 URBAN SOIL ($10)

5/5 THE COLLECTION W/ THE PINKERTON RAID($12/$14)

3/25 STEVE GUNN W/ NATHAN BOWLES ($15/$17)

5/10 FRANKIE COSMOS W/ FLORIST AND LALA LALA

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

3/26 S CAREY W/ GORDI, XOXOK ($15)

5/11 THE MOTHER HIPS

5/12 NORTH MISSISSIPPI ALLSTARS ($20/$23)

3/27 MARC RIBOT'S CERAMIC DOG ($18/$20)

5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 )

5/18DAVID BROMBERG (SEATEDSHOW)

3/29 THE BLUEGRASS EXPERIENCE ($10)

5/20 ICEAGE ($14/$16)

5/12 TANK AND THE BANGAS W/ SWEET CRUDE ($16/$18)

6/3 SUNFLOWER BEAN ($12)

NORTH CAROLINA MUSEUM OF ART

6/5 POST ANIMAL ($12/$14)

6/8 FIRST AID KIT W/ JADE BIRD

5/7 MELVINS ($20/$22) 5/8 BAHAMAS ($16/$18) 5/9 PANDA BEAR W/ GEOLOGIST ($22/$25)

5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29) 5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20) 5/25PETER HOOK & THE LIGHT ($28/$31) 6/3 TYLER CHILDERS ($18/$20; ON SALE 3/9)

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

6/21 MANCHESTER ORCHESTRA ($23 /$28) 6/23 THE FEELIES ($20/$23)

3/23 GODSPEED YOU! BLACK LD EMPEROR W/KGD SO OUT 4/20 JEFF TWEEDY -- SOLO

SOLD OUT

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

CAROLINA THEATRE (DUR)

6/23 MANDOLIN ORANGE

3/24 LUCIUS W/ETHAN GRUSKA

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

4/2 TWIN PEAKS W/ THE DISTRICTS, NUDE PARTY

8/18 VOODOO THREAUXDOWN FEATURING TROMBONE SHORTY & ORLEANS AVENUE WITH GALACTIC, PRESERVATION HALL JAZZ BAND, NEW BREED BRASS BAND WITH SPECIAL GUESTS CYRIL NEVILLE, WALTER WOLFMAN WASHINGTON

4/4 DYLAN LEBLANC AND

$10 advance / $12 dayTHE ofARTISANALS ($10/$12)

6/19 STEPHEN MALKMUS & THE JICKS ($20/$23)

5/3 FLEET FOXES HAW RIVER BALLROOM

MOTORCO (DUR)

4/11 WAXAHATCHEE AND HURRAY LD FOR THE RIFF RAFF SO OUT

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

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

music 3.7 – 3.14

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

Zeshan B performs Thursday at Kings.

WED, MAR 7 CAT’S CRADLE: LP, Noah Kahan, Kat Cunning; 8:30 p.m., $22–$25.

CAT’S CRADLE (BACK ROOM): SonReal, DAVIE & NANCE; 8 p.m., $15–$17.

DUKE’S BALDWIN AUDITORIUM: Duke Symphony Orchestra with Timothy Culver and Nicholas Kenney; 8 p.m., free.

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

THU, MAR 8 2ND WIND: 2 fer; 7:30-9 p.m.

LOCAL 506: Okey Dokey, Zuli; 7 p.m., $10–$12.

CAT’S CRADLE: Pronoun, Michael Nau & the Mighty Thread; 8 p.m., $10–$12.

MOTORCO: The Wind + The Wave, Jesse Ruben, Rachel Price; 8 p.m., $12–$15.

THE CAVE: Dry Reef, Raptor Taxi, Candy Ambulance; 9 p.m., $5.

NEPTUNES PARLOUR: The Pauses, Museum Mouth; 10 p.m., $7.

KINGS:

THE PINHOOK: Frigs, Henbrain; 9 p.m., $10. Frigs, Henbrain; 9 p.m., $8.

[$12-$15/9 P.M.]

THE RITZ: Jeezy, Tee Grizzley; 8 p.m., $35.

Zeshan B

Zeshan Bagewadi—better known as simply Zeshan B—is a fascinating study in

American multiculturalism.

Born and raised in Chicago to Muslim Indian immigrants, Bagewadi grew up steeped in black American soul music.

In high school, he sang in a gospel choir, and in college, he studied opera. He sings in Punjabi, Urdu, and English, and his oeuvre includes qawwali (Sufi devotional music) and ghazal (South Asian romantic poetry). Bagewadi’s music hews closest to the classic soul stuff that he loved throughout

his youth, and through it, he connects the struggles of all people of color in the United States. The lead single from his debut record, last year’s Vetted, was a stirring, timely take on the George Perkins protest song “Cryin’ in the Streets.”

The distinct and unusual filigrees with which Bagewadi adorns his music are delightful, making his songs as affecting as they are entertaining.

D-Town Brass opens.

—Allison Hussey

PHOTO COURTESY OF SHORE FIRE MEDIA

LOCAL 506: Acid Dad, Cosmic Punk, Nathan Arizona and the New Mexicans; 9 p.m., $10–$12.

MEMORIAL AUDITORIUM:

Jason Mraz [$65–$85/8 P.M.]

Sixteen years since he hit the mainstream airwaves with the upbeat, feel-good single “The Remedy (I Won’t Worry),” Jason Mraz is still chugging along with acoustic pop-rock that’s generally as cheery as it is INDYweek.com | 3.7.18 | 29

toothless. But maybe Mraz is on to something—what if you could suspend your disbelief and pretend that his mellow, no-worries world was real life after all? It might be worth a shot. Last year, he made his Broadway debut in the musical Waitress, so maybe he’ll bring an extra dose of the ol’ razzledazzle when he stops in Raleigh this week. —Allison Hussey MEYMANDI CONCERT HALL:

N.C. Symphony: The Music of Michael Jackson [$77/7:30 P.M.]

Michael Jackson’s “Don’t Stop’Til You Get Enough” starts with Jackson murmuring over a bouncing bass line and a little shaker. He goes on for a few seconds, pausing for a moment before making a hard turn: “You make me feel like a…FOOL!” he squeals, as a flurry of strings and a groovy rhythm section kick up in high gear behind him. It might be one of the most iconic intros in American music history.

Thus, you’re likely to hear it at the North Carolina Symphony’s celebration of the King of Pop. James Delisco Beeks, who

TH 3/8

developed the project in 2015 with independent conductor Brett Havens, steps in as a guest vocalist. Don’t forget your single sequined glove for this evening out. —Allison Hussey THE PINHOOK: Sneaks, Thunder Dreamer, Maneka, Naked Naps; 9 p.m., $10.

RUBENSTEIN ARTS CENTER - VON DER HEYDEN STUDIO THEATER: THE_OPER&; 8 p.m., $10–$28. See page 18.

FRI, MAR 9 BEYÙ CAFFÈ: The 4 Korners; 7 & 9 p.m., $15.

BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

THE BULLPEN: Alexa Rose; 8:30 p.m.

THE CARY THEATER: Michelle Malone; 8 p.m., $18–$25.

CAT’S CRADLE:

Senses Fail

[$16–$20/7:30 P.M.] If There Is Light, It Will Find You, released in mid-February, is Senses Fail’s seventh record, but its spiritual antecedents are practically ancient. The album most closely resembles 2004’s Let It Enfold You and 2006’s Can’t

Be Saved, the hooky hardcore records that pushed the band to the brink of mainstream exposure. In a sense, it’s the band’s second chance: Frontman Buddy Nielsen pissed away Senses Fail’s first shot, flubbing big gigs and driving away band members with his problematic behavior. (Nielsen explained to Billboard that his downward spiral was fueled by severe panic attacks induced by touring and a malevolent mistrust of his sexual orientation; he now openly embraces his attraction to people across the gender spectrum.) Indeed, it’s hard not to perceive Light as redemptive: It’s packed with biting observations and ruminations, which resonate with the band’s target audience as deeply as their nostalgic early-aughts poppunk and screamo anthems.

With Reggie & the Full Effect, Have Mercy, and Household.

—Patrick Wall CAT’S CRADLE (BACK ROOM): Vundabar, Ratboys, Ghostt Bllonde; 8 p.m., $10–$12.

HAW RIVER BALLROOM: Town Mountain, Josh Moore; 8 p.m., $12–$15.

THE KRAKEN: April Cryder and Chuck Johnson, Fontanelles and Reese McHenry & the Fox; 8 p.m., free.

6 String Drag perform at The Pour House Friday night.

THE FREDERICK DOUGLASS SPEAKING TOUR FEAT. NATHAN RICHARDSON PRESENTED BY ORANGE COUNTY ARTS COMMISSION

SA 3/10 FR 3/16 3/16-18

CHARLIE CHAPLIN’S THE KID –

LIVE FILM RE-SCORING BY TIM CARLESS THE ARTSCENTER PRESENTS: NED FERM

FIVE WOMEN WEARING THE SAME DRESS PRESENTED BY ONE SONG PRODUCTIONS

OMAR SOSA & SECKOU KEITA: TRANSPARENT WATER POPUP BROADWAY (FIDDLER ON THE ROOF) KEN WALDMAN AND THE WILD MEN THE REUNION TOUR: CRIS WILLIAMSON FR 3/30 BARBARA HIGBIE - TERESA TRULL WE 4/11 GALUMPHA FR 4/13 BEAUSOLEIL TU 3/20 TH 3/22 FR 3/23

Find out More at

ArtsCenterLive.org

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

GUITAR LESSONS WE 3/7 TH 3/8 FR 3/9 SA 3/10 SU 3/11 TU 3/13

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30 | 3.7.18 | INDYweek.com

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THE CAVE:

MOTORCO: Motorco Madness: A Benefit for EK Powe with The Beast; 1:30 p.m., $15. Southern Culture on the Skids, The Shoaldiggers; 9 p.m., $14–$27.

RUBENSTEIN ARTS CENTER - VON DER HEYDEN STUDIO THEATER: THE_OPER&; 3 & 8 p.m., $10–$28. See page 18.

ST. LUKE’S EPISCOPAL CHURCH: Choral Society of Durham Chamber Choir; 3 p.m., free.

Quiet Hollers [$8–$10/9 P.M.]

Louisville, Kentucky indie rockers Quiet Hollers boast a full, dynamic sound that recalls both the bombast of Southern rock and the ethereal, story-driven genius of Andrew Bird. The band’s frontman, Shadwick Wilde, has had an unbelievably varied career, from hardcore music to alt-country. On this year’s Amen Breaks, the band reveals another reinvention of their sound, evoking seventies folk ballads through character-driven explorations of sexuality and mental illness. With Ancient Cities.

—Samuel Montgomery-Blinn

SUN, MAR 11 CHAPEL OF THE CROSS: Versailles; 3 p.m., $18.

DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3.

DURHAM CENTRAL PARK: Charles Latham & The Borrowed Band; 12:30 p.m., free.

LINCOLN THEATRE: 5th Annual Kelly Holland Memorial Show: Leadfoot, Nashville Non Prophets, The Commune, Justin Womble and Friends; 5 p.m.

THE MAYWOOD: Killing The Catalyst, Through All This Time, Attracting The Fall; 9 p.m., $8.

MOTORCO: Adrianne Lenker & Nick Hakim, Molly Sarlé; 8 p.m., $13–$15.

See page 27.

MYSTERY BREWING COMPANY: Mysti Mayhem Duo; 8:45 p.m.

THE PINHOOK: EBZ, Miniluv, Ellen O, Khallee + IMGRNT; 9 p.m., $7.

WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, MAR 12

THE PINHOOK: Dreaming of the 90s Dance Party; 10 p.m., $5.

POUR HOUSE:

THE CAVE: Neville’s Quarter, Caitlin Washburn, Brendan Macie; 9 p.m.-midnite, $5.

6 String Drag [$10–$12/8:30 P.M.]

In the nineties, Raleigh’s 6 String Drag sat near the top of the heap of alt-country and Americana acts bustling around the Triangle. The band fizzled out and went quiet shortly after releasing their acclaimed 1997 album, High Hat, through Steve Earle’s label imprint. The band’s hiatus lasted for nearly two decades, but in 2015, the band came roaring back with Roots Rock ’n’ Roll. On their latest record, Top of the World, the band flaunts that they haven’t lost any of the high-octane energy. It’s a respectable romp that’ll have you ready to party like The Brewery’s still around.

Two Dollar Pistols and Temperance League open.

—Allison Hussey RUBENSTEIN ARTS CENTER - VON DER HEYDEN STUDIO THEATER: THE_OPER&; 8 p.m., $10–$28.

See page 18.

IMBIBE: Grewen and Griffin; 7-10 p.m., free.

Jason Mraz performs Thursday in Raleigh.

SAT, MAR 10 BEYÙ CAFFÈ: The DexBass Experience; 7 & 9 p.m., $13.

THE BULLPEN: The Onyx Club Boys; 8:30 p.m.

CAT’S CRADLE:

To the Dearly Departed: A Tribute to Dolores O’Riordan [$10–$12/9 P.M.]

As Let It Linger, Steph Stewart spearheaded a couple tributes to The Cranberries in 2013; she now reunites the outfit with her current Blue Cactus partner, Mario Arnez, in the wake of Dolores O’Riordan’s death earlier this year. Expect plenty of local stars paying

PHOTO COURTESY OF ATLANTIC RECORDS

homage: Skylar Gudasz, Rachel Kiel, Molly Sarlé, Chessa Rich, John Howie Jr., Mipso’s Libby Rodenbough, and members of Canine Heart Sounds are some of those enlisted to tackle the grungy Irish alt-rockers’ tunes. Girls Rock NC will receive a portion of the proceeds from the night, which also features a nineties after-party dance soundtracked by DJ Luxe Posh. —Spencer Griffith

which melds contemporaryminded bluegrass with jazz and more for an intriguing blend of American music.

Dave King, who plays drums in the celebrated boundarypushing jazz trio The Bad Plus, produced the band’s most recent album, 2017’s Maybe Believe. It’s a curious but appealing mix, one that’ll satisfy adventurous folk fans and rock devotees alike.

—Allison Hussey

CAT’S CRADLE BACK ROOM:

THE KRAKEN: Glenn Jones & the Nearly There, Secret Monkey Weekend; 8 p.m., free.

Jon Stickley Trio [$10–$12/8:30 P.M.]

You might guess that a band that has a flatpicking guitarist as its core might be a bluegrass band. Such is not the case for Asheville’s Jon Stickley Trio,

LINCOLN THEATRE: Bowie Ball; 8 p.m., $12.50–$15.

THE MAYWOOD: Demon Eye, Red Giant, The Great Iron Snake, Gringo; 8 p.m., $10.

MOTORCO: Flash Chorus; 7 p.m., $7–$10.

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

TUE, MAR 13 CAT’S CRADLE: J Boog, Jesse Royal, Etana; 8 p.m., $20.

CAT’S CRADLE (BACK ROOM): Jessica Lea Mayfield, T. Hardy Morris; 8 p.m., $15. See page 19.

NIGHTLIGHT:

Radiation Risks [$8/9 P.M.]

This eclectic gig features guitar rock from way up and down the east coast. Buffalo, New York rippers Radiation Risks play fast and loose with mighty dance-punk rhythms and top the bill, which also features Jersey garage rock outfit Spowder and Raleigh punk mainstays No Love. Greensboro

punk-pop upstarts Concussion hit hard but feature brittle Replacements-esque vocal melodies to soften their attack.

With Zaat. —David Ford Smith THE PINHOOK: Iron Chic, Magician Michael Casey, Sneakers Award; 9 p.m., $15.

THE WICKED WITCH:

Spookstina [$3/10 P.M.]

Raleigh noise staple Spookstina maintains a vigorous touring schedule. She spent a good chunk of 2017 traveling around the United States sharing her leftfield sounds with the people, even playing a few shows in Mexico.

For this hometown gig, expect thoughtfully crafted, deepest meditative zones of the healing variety.

—David Ford Smith

WED, MAR 14

CAT’S CRADLE (BACK ROOM): Brew Davis, The High Top Boys; 8 p.m., $10–$12.

HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

NIGHTLIGHT:

Allison de Groot & Tatiana Hargreaves [$10–$12/8 P.M.]

If you’re looking for a lowkey, double-barrel evening of excellent old-time music, Nightlight has you set for this particular Wednesday.

Tatiana Hargreaves is a talented young fiddler based in Durham, and her star is already on the rise—she recently sat in with the Dave Rawlings Machine when the band stopped in Saxapahaw in January. She teams up with the similarly skillful clawhammer banjo picker Allison de Groot, who hails from Winnipeg, Canada.

Scene veteran Andy Cahan joins The Bucking Mules’ Joseph Decosimo for an opening set. —Allison Hussey THE PINHOOK: Free Improvised Music: James Gilmore, Ned Ferm, Butler Knowles, Donovan Cheatham; 8:30 p.m., donations.

INDYweek.com | 3.7.18 | 31

art

3.7 – 3.14

OPENING Celebrating Twenty Years of Quilting: The Story of Durham’s African American Quilt Circle: Conversation with Marjorie Diggs Freeman, Jereann King Johnson, and Sauda Zahra of the African American Quilt Circle of Durham. Sat, Mar 10, 4-6 p.m.

Hayti Heritage Center, Durham. www.hayti.org.

ONGOING America Wants: Photography

by Owens Daniels. Thru Mar 8.

Durham Arts Council, Durham. www.durhamarts.org.

American Red Cross: Healing the Warrior’s Heart through Art: Thru Apr 1. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

LAST Analog Art in a CHANCE Digital World: Sculpture by Joe Coates.

Thru Mar 10. Durham Art Guild, Durham. www.durhamartguild.org.

Art to Live By: Paintings by Michael Banks. Thru Apr 22.

Alexander Dickson House, Hillsborough. www.historichillsborough.org.

As·sem·blage: Ceramic sculpture by Raleigh artist Rosalie Midyette. Thru Mar 31.

Claymakers, Durham. www.claymakers.com.

Awakening: Paintings by local artists Stephen Moore and Susan Hecht. Thru Mar 31.

ArtSource Fine Art, Raleigh. www.artsourcefineart.com.

Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection: We’re in more of an “emperor wears no clothes” age than one of enlightenment, but the feminine gender is being dissected more forcefully than ever. Visitors will surely take this into consideration when viewing exquisite works from the Horvitz Collection of eighteenth-century French art. Most are by well-known male artists such as Boucher and Fragonard. But several talented female artists are also 32 | 3.7.18 | INDYweek.com

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

represented, though they were relegated to the gentle medium of pastel instead of oils. Antoine Vestier’s “Allegory of the Arts” (1788) is a marker of changing times, a lovely portrait of the artist’s daughter sitting at a desk and drawing a sculpture. She is an active subject, not a passive object, and scholars believe that she painted her own drawing on the canvas. Several works show the duplicitous demands placed on women: to be a saint, but also an embodiment of sexual desire; to be in a profession, but only a socially acceptable one; to be both strong and weak.

Thru Apr 8. Ackland Art Museum, Chapel Hill. www.ackland.org.

—Liz Hull LAST Behind the Eyes: Art CHANCE as Therapy: Paintings by David Underwood and mosaics by Alyssa Draffin.

Thru Mar 10. The Scrap Exchange, Durham. www.scrapexchange.org.

THURSDAY, MARCH 8

SOUTHERN INSURRECTIONS In the AK Press book Dixie Be Damned: 300 Years of Insurrection in the American South, local authors Saralee Stafford and Neal Shirley offered an anarchist perspective on historical Southern resistance movements that challenged mainstream progressive narratives. The book has now become the inspiration for Southern Insurrections, a new series of paintings by Hillsborough’s Phil Blank.

The giclée prints and originals on view at Horse & Buggy Press (and Friends) bring Blank’s strong graphics to bear on musicians, myths, and little-known protest movements who pushed us, often thanklessly, toward the South as we now know it. After this opening reception, where Blank will be present, the exhibit runs through March 29. Plus, Shirley reads and discusses Dixie Be Damned at 7 p.m. on March 21. —Brian Howe

Between Dirt and Sky: North Carolina sculptor Thomas Sayre (you might have caught his exhibit White Gold at CAM Raleigh in 2016) is nationally renowned for his large-scale outdoor sculptures, but you can get a more intimate look in this small gallery show, featuring mixed-media works inspired by the cotton fields and farm buildings of the rural South as well as Sayre’s iconic earthcasts. Thru Apr 21. Craven Allen Gallery, Durham. www.cravenallengallery.com.

—Brian Howe Business as Usual: This is big all around—the largest exhibit ever mounted of large-scale sculptures by a large-looming North Carolina artist. Bob Trotman delights the eye and dazzles the mind with satirical figures from the world of big business, wrought with a master craftsperson’s panache. Some of the works include motorized mechanisms that are triggered by motion sensors, implicating the viewer in the vast, mysterious whir of late capitalism, but even the stationary sculptures are so charged with life that you might

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HORSE & BUGGY PRESS (AND FRIENDS), DURHAM 5–8 p.m., free www.horseandbuggypress.com

Artwork by Phil Blank PHOTO COURTESY OF DAVE WOFFORD

think you glimpse them moving in the corner of your eye.

Thru Jul 1. Gregg Museum of Art & Design, Raleigh. www.gregg.arts.ncsu.edu.

—Brian Howe

SPECIAL Allison Coleman: EVENT One-week MFA exhibition. Thru Mar 9.

Reception: Thu, Mar 8, 6-8 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

C o a s t s c a p e s: Coastal landscape paintings by Nancy Hughes Miller. Thru Apr 2.

Liquid State, Raleigh. www.liquidstateraleigh.com.

Colors of Latin America: Paintings by Yholima VargasPedroza. Thru Mar 26. Durham Arts Council, Durham. www.durhamarts.org.

Austin Caskie: Artspace satellite exhibition. 3-D models. Thru Mar 31. HQ Raleigh, Raleigh.

Contemporary South ‘18: Artists from the South. Thru Mar 24.

VAE Raleigh, Raleigh.

SPECIAL Distance: Works EVENT using São Paulo’s subway system and trips as main subject. Thru Mar 10.

Closing reception: Sat, Mar 10, 6-9 p.m.

ANCHORLIGHT, Raleigh. anchorlightraleigh.com Downtown Cary Food & Flea: Locally made goods, antiques, crafts, food, and art. Sun, Mar 11, noon-4 p.m. Fidelity Bank Plaza, Cary. www.dtcfoodandflea.com

Earth Consciousness and Cultural Revelations: Mixed media artist Alyssa Hinton.

Thru Apr 29. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Electric Avenue: Pleiades artists. Thru Mar 31. Pleiades Gallery, Durham. pleiadesartdurham.com.

Exposed: Nudes in Art 2018: Nudes by twenty-five artists.

Thru Mar 29. Litmus Gallery, Raleigh. litmusgallery.com.

Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life. The result is Thelen’s own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Jun 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe In Other Words: Portraits of local non-gender-conforming people by Libby O’Daniel. Thru Mar 31. Artspace, Raleigh. www.artspacenc.org.

SPECIAL It’s All About the EVENT Story, Volume VI: Nancy Peacock: The gallery’s artists respond to Nancy Peacock’s book A Broom of One’s Own. Thru Mar 25.

Reading by Nancy Peacock: Sun, Mar 11, 4 p.m.

Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

William Goodson Mangum: Paintings. Thru Mar 30. Lee Hansley Gallery, Raleigh. www.leehansleygallery.com.

LAST MC Hues Iris Art CHANCE Alumnae Exhibition: Thru Mar 11. Meredith College: Gaddy-Hamrick Art Center, Raleigh. www.meredith.edu.

LAST Modern Japanese CHANCE Shin-Hanga and Sosaku-Hanga Prints: Woodblock prints. Thru Mar 8.

Gallery C, Raleigh. galleryc.net.

On Press: Woodcuts by Ann Conner. Thru Mar 31.

The Mahler Fine Art, Raleigh. www.themahlerfineart.com.

SPECIAL Pain Bodies: Political EVENT Resistance and the Accumulation of Psychic Pain: Becky Flanders. Thru Mar 10.

Artist talk: Fri, Mar 10, 3 p.m.

Lump, Raleigh. lumpprojects.org.

Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. durhamconventioncenter.com.

Red Summer: Wendell A. White’s large-scale prints combining contemporary landscape portraits and historic newspaper accounts.

Thru Jun 2. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Redress Papers: Mixed-media on paper about unresolved issues of civil rights by Tyler Starr. Thru Apr 14. Artspace, Raleigh. www.artspacenc.org.

LAST RESOLUTE: Mixed CHANCE media paintings by Antuco Chicaiza. Thru Mar 8.

Durham Arts Council, Durham. www.durhamarts.org.

Sentience: Paintings and drawings by Adam Cohen.

Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org.

The Shape of Fashion: Dress trends from the 1800s to the 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Snippets: Paintings by David Molesky. Thru Aug 15. Gallery A, Raleigh. gallerya-nc.com.

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation.

They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canonmakers didn’t as readily embrace them. This touring exhibit at the Nasher is

a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing. They range from midtwentieth-century Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twenty-five-foot-tall sculpture anchors the exhibit. Thru Jul 15.

Nasher Museum of Art, Durham. nasher.duke.edu. —Brian Howe Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

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

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality

installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others.

Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation.

In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for postcapitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe The Woman Who Made Snow: Photography by Anna Exum Snow. Thru Mar 31.

Durham History Hub, Durham. museumofdurhamhistory.org.

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

Jinxiu Alice Zhao: Chinese brush paintings. Thru Apr 12.

ERUUF Art Gallery, Durham. www.eruuf.org.

Women’s Health Awareness Day Is April 7 At NCCU FEBRUARY 16, 2018, DURHAM, NC -- The Fourth Annual Women’s Health Awareness Day will be held on Saturday, April, 7, 2018, at the North Carolina Central University Mary Townes Science Building, 1900 Concord Street, Durham, NC 27709. This powerful day-long women’s health conference will feature FREE wellness screenings, health education workshops, healthy living presentations and health resources.

This health conference will be held from 8:00 A.M. until 5:00 P.M. Free registration is required.

Participants may register early by going to the following web site: www.niehs.nih.gov/whad. Onsite registration is available on the day of the event. Early registration ends March 15, 2018, and early registrants will be offered a complimentary lunch sponsored by Duke University Hospital.

Growing in popularity, this women’s wellness conference attracts more than 650 participants annually from the Triangle and surrounding counties. Women join together with public health experts during the conference to educate and empower themselves to take responsibility for more healthy life-style choices and outcomes for themselves, their families and their communities.

The health conference is open to all women, however, it places a special focus on women of color, underserved, uninsured and/or under-insured women. Health disparities exist within our communities across the Triangle and surrounding counties. This conference helps to provide awareness, services and resources in an effort to improve health equality for women and communities of color.

The National Institute of Environmental Health Sciences, Office of Human Research Compliance, Clinical Research Branch is the lead sponsor for the event. The Durham Alumnae Chapter of Delta Sigma Theta Sorority, Inc., Durham Alumnae Delta House, Inc. and the Department of Health Education at North Carolina Central University are co-sponsors.. _________________________________________________________________ Early registration begins Mon. Jan. 1, 2018 and ends Thurs. March 15, 2018.

Register at www.niehs.nih.gov/whad. On-site registration available day of event.

For more information, contact Lynae Thomas at lynae.thomas@nih.gov or 919-541- 9844.

INDYweek.com | 3.7.18 | 33

stage

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming March 21:

Chapel Hill

For advertising opportunities, contact your ad rep or advertising@indyweek.com 34 | 3.7.18 | INDYweek.com

Ain’t Misbehavin’ PHOTOS COURTESY OF NRACT FRIDAY, MARCH 9–SUNDAY, MARCH 25

AIN’T MISBEHAVIN’

The Harlem Renaissance jazz pianist Thomas “Fats” Waller was larger than life: “Mama Waller’s 285 pounds of jam, jive, and everything,” he called himself on an early phonograph recording of the song that gives this Tony-winning 1978 musical revue its title. On stage and in films like MGM’s Stormy Weather, Waller affected the persona of a mischievous, derby-sporting man about town, delivering arch repartee and song lyrics at an upright piano. His innovations as a composer took stride piano uptown in lesser-known works such as “African Ripples” and his musical Early to Bed. At NRACT, a quintet of musicians sells the sophisticated sizzle of Waller’s greatest hits in a late-night club. Liz Grimes Droessler saw enough good auditions to cast the show twice, with a “blue” cast including Aya Wallace and Juan Isler and a “green” cast featuring Babs Watson and Stan Williams in alternating performances. —Byron Woods

NORTH RALEIGH ARTS & CREATIVE THEATRE, RALEIGH | Various times, $12–$20, nract.org

OPENING Ain’t Misbehavin’: Musical directed by Liz Grimes Droessler. $17-$20. Mar 9-25.

North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org.

The Bipeds Season Launch Party: Fundraiser for dancetheater company with premiere of film Dressful of Dreams.

$20 suggested donation. Sat, Mar 10, 7 p.m. Shadowbox Studio, Durham. www.shadowboxstudio.org.

Framing the Shot: Play by Allan Maule. $25. Mar 9-25.

Sonorous Road Theatre, Raleigh. www.sonorousroad.com.

The House of Coxx Presents: Stormie & Ben vs. Naomi & Spray: Drag competition.

$10. Sat, Mar 10, 10 p.m. The Pinhook, Durham. www.thepinhook.com.

The Wizard of Oz: Family musical. Mar 13-18. Memorial Auditorium, Raleigh. www.nctheatre.com.

You Ain’t My Daddy: Play

by Agape Theatre Project. $20. Mar 9-10, 8 p.m. Garner Performing Arts Center. garnerperformingartscenter.com.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com LAST ½ Assassins: CHANCE The latest revival of Stephen Sondheim and John Weidman’s sardonic, carnivaltinged tribute to the ultimate Second Amendment solution opening during the week of the Parkland school massacre underlined the fact that the American shooting gallery never truly closes. In that grisly light, we watch as four successful and five would-be presidential murderers put their money down for a sucker’s game. Director David Henderson gets a full measure of passion from his gallery of rogues. But the sound design repeatedly frustrated singers and listeners on opening night, overpowering Sondheim’s lyrics, and the pacing dragged in the disjointed middle sections of a darkly comic revue. $20-$30. Thru Mar 11.

Theatre In The Park, Raleigh. theatreinthepark.com.

—Byron Woods LAST ½ The CHANCE Christians: Is Christianity predicated on coercion, punishment, and fear? If you remove those elements, is anything left?

Those are the pointed questions Lucas Hnath probes in his controversial one-act drama. It’s Sunday morning in an American megachurch whose earnest, charismatic leader, Pastor Paul (Joey Collins), is about to spring his new vision of the gospel on his congregation, his board of directors, and his wife. Well, it worked for Moses. But then, he had two impressive visual aids: tablets with commandments etched by the hand of God. All Paul has is a handful of receipts from a pastor’s convention at the Orlando Marriott to affirm his new belief that there is neither a literal devil nor a literal hell. When Joshua (Alex Givens), a younger, more conservative associate pastor, challenges him midservice, Paul calmly deconstructs the scriptures Joshua offers to support the premise of eternal damnation.

These conflicts point to the irreducible distance between visionaries and their followers and the vanity of a spiritual

egoist determined to stagemanage revelations to maximize their impact and minimize risk. $15+. Thru Mar 12. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

—Byron Woods Eyes Up Here Comedy Showcase: Comedy by local women. $5. First Wednesdays, 8 p.m. Neptunes Parlour, Raleigh. neptunesparlour.com.

The Harry Show: Ages 18+. Improv host leads potentially risque games with audience volunteers. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Hush Hush: Audience confession comedy show.

Wednesdays, 8 p.m. Thru Apr 25. Fullsteam, Durham. thisismettlesome.com.

Improv @ The Varsity: Sketch, improv, and stand-up. $6. Thursdays, 7:30 p.m. & Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com.

A Midsummer Night’s Dream: Shakespeare play. $10-$15. Thru Mar 19.

Kennedy Theater, Raleigh. dukeenergycenterraleigh.com.

LAST ½ Moliere’s CHANCE Tartuffe: Compared to The Christians, with which it’s in rotating repertory at PlayMakers, David Ball’s adaptation of Molière’s consummate spiritual hypocrite, Tartuffe, is a light comic soufflé whose absurdity is only heightened by the distinctively Seussian poetic rhythm employed whenever the title character speaks. As such, Joey Collins’s Tartuffe comes off as something like a sanctimonious Cat in the Hat, albeit one wholly disinterested in cleaning up the mess he makes. Shanelle Nicole Leonard shines as Dorine, the outspoken maid to Orgon (Ray Dooley), the patriarch deceived by the unctuous Tartuffe. Brandon Haynes’s rewarding paroxysms of frustration as Damis, Orgon’s son, elicit laughter. Adam Poole and April Mae Davis take quarrelling lovers Valere and Mariane for a rewarding spin, while family friend Cleante (Rishan Dhamija) tries in vain to restore sense to this addled house. Thru Mar 12.

PlayMakers Repertory Company, Chapel Hill. playmakersrep.org.

—Byron Woods

LAST The Moors: CHANCE Jen Silverman’s often funny, abruptly plaintive drama is a loving but decidedly left-handed tribute to the Brontë sisters’ novels, threading their devices into a toothsome critique of Gothic romance. The arrival of Emily (a confident Jessica Flemming) to an ill-kept mansion on the desolate British lowlands hardly interrupts the spinster Agatha (a steely Jessica Hudson) in her imperious recital of the shortcomings of her younger sister, Huldey (a feverish Tamara Kissane), the family retainer (a sullen Sarah Koop), and a melancholy mastiff (Nick Popio). Agatha admits to authoring the mash notes—and solicitation of employment—supposedly written by her brother, Branwell, that lured Emily to this isolated place. Those revelations dampen neither Emily’s ardor nor Agatha’s clearly dominating machinations. Dreams long denied find their full expression to the detriment of all concerned, in a comic send-up of classic melodrama with a cautionary barb at the end. $12-$20. Thru Mar 10.

Manbites Dog Theater, Durham. www.manbitesdogtheater.org.

—Byron Woods The Phantom of the Opera: Musical.. $35+. Various times.

Durham Performing Arts Center, Durham. dpacnc.com.

Under The Bridge Comedy Night Open Mic: Second Thursdays. London Bridge Pub, Raleigh. thelondonbridgepub.com.

WIT: An Improvised Game Show: Improv. $5. Sat, Mar 10, 9:30 p.m. Varsity Theatre, Chapel Hill. www.varsityonfranklin.com.

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Chefs for Change: Fundraising dinner series benefitting homeless families. $75. Mon, Mar 12, 6-9 p.m. The Rickhouse, Durham. www.rickhousedurham.com.

Toast to the Triangle: Samples from forty Triangle restaurants and beverage providers, silent auction. $80. Sun, Mar 11, 6 p.m.

NCSU Campus: McKimmon Center, Raleigh. www.toasttothetriangle.org.

MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 3.7.18 | 35

page

screen SUNDAY, MARCH 11

JOHN HART

The Bipeds PHOTO COURTESY OF ALEX MANESS/JIM HOVERCRAFT SATURDAY, MARCH 10

THE BIPEDS SEASON LAUNCH PARTY Dance show or concert? Dance show or concert? On any given weekend in the Triangle, this dilemma is apt to present itself to those with a diverse interest in the arts. But with The Bipeds, you don’t have to choose. Stacey Wolfson’s dance company combines with Curtis Eller’s banjo playing in a kinetic crucible where the movement becomes like music and the musician really moves. The company’s 2018 season launch party and fundraiser at Shadowbox Studio will feature cocktails, live music, T-shirt screen printing, and the premiere of a Bipeds film by Shadowbox proprietors and filmmakers-about-town Alex Maness and Jim Hovercraft. —Brian Howe

SHADOWBOX STUDIO, DURHAM 7 p.m., $20 suggested donation, www.facebook.com/thebipedsdance Though he was already a New York Times best-seller and a consecutive Edgar Award winner, North Carolina-born mystery author John Hart recently got a rather impressive boost when he shared a bill at Meymandi Concert Hall with none other than one-man-thriller-industry John Grisham. Whether you missed that or especially enjoyed it, here’s a chance to get acquainted with Hart in a much more intimate setting, when he discusses his latest novel, The Hush, at Flyleaf Books. Set in the same fictional but all-too-real Raven County—a composite of places in rural North Carolina—as prior novel The Last Child, The Hush continues to unfold the tale of Johnny Merrimon, whose investigation of his sister’s disappearance overturned his life and his hometown in the last book, and who is now dealing with his notoriety. It’s a novel of exile and friendship set in places that, while invented, North Carolinians of all stripes would clearly and immediately recognize as their own. —Brian Howe

SPECIAL SHOWINGS Campus Movie Fest: Sixteen student films. Wed, Mar 7, 6:30 p.m. UNC Campus: Great Hall, Chapel Hill.

Durham Cinematheque: Just Hilarious: Silent comedy. $5.

Sat., March 10, 2 p.m. and Sun., March 11, 8 p.m. Durham Cinematheque, Durham.

FLYLEAF BOOKS, CHAPEL HILL

Spiritual Cinema: Religion at the Movies: International film series. Mon, Mar 12, 7 p.m. & Mon, Apr 9, 7 p.m. James B. Hunt Jr. Library, Raleigh.

2 p.m., free, www.flyleafbooks.com

OPENING

READINGS & SIGNINGS

½ A Fantastic Woman—Reviewed on p. 23.

Rated R.

Bible Belt Abortion Storytelling Tour: Amelia Bonow (#ShoutYourAbortion) and Poppy Liu (Collective Sex) lead an evening of abortion storytelling, art, and conversation. $5 suggested donation. Mon, Mar 12, 7 p.m.

The Pinhook, Durham. www.thepinhook.com.

Gringo—In this action comedy, David Oyelowo is an American businessman whose company develops a marijuana pill, leading him to be kidnapped by a Mexican drug cartel. Rated R.

36 | 3.7.18 | INDYweek.com

Peter Hayes: Beth El Author Series. Author of Why? Explaining the Holocaust. Sun, Mar 11, 11 a.m. Levin Jewish Community Center, Durham. www.levinjcc.org.

The Party—In Sally Potter’s dark comedy, a dinner party for a British politician (Kristin Scott Thomas) is knocked off

course by a revelation from her husband. Unrated.

The Strangers: Prey at Night—Christina Hendricks stars in this horror film about a family being pursued through an abandoned mobile-home park. Rated R. A Wrinkle in Time— Madeleine L’Engle’s classic sci-fi novel becomes a glorious Afrofuturist film by Ava DuVernay. Rated PG.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13. ½ Call Me By Your Name—If you can accept how walled off from the larger context of LGBTQ history it is, then this love story is nearly perfect. Rated R.  Coco—This Day of the Dead-themed animated

fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG. ½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.  Film Stars Don’t Die in Liverpool—Annette Bening plays mid-twentieth-century Hollywood star Gloria Grahame in the last months of her life. Rated R.  I, Tonya—This kinetic biopic of a disgraced figure skater borrows liberally from Scorsese. Rated R.  Jumanji: Welcome to the Jungle—You’d need a lot of nineties nostalgia to see this reboot as anything but a generic jungle adventure.

Rated PG-13.  Lady Bird—Greta Gerwig’s nostalgic coming-ofage debut as a writer-director is winning and alert to class but falters on race. Rated R.  Molly’s Game—You either dig Aaron Sorkin’s

talkative style or you don’t.

He lets it rip in this directorial debut about the high-stakes world of L.A.’s underground poker scene. Rated R. ½ Nostalgia—This maudlin and confused anthology film focuses on our sentimental attachment to things. Rated R. ½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press.

Rated PG-13.  The Shape of Water— Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic. Rated R. ½ Three Billboards Outside Ebbing, Missouri— Maybe the Coen brothers could have pulled it off, but Martin McDonagh has tonal problems with the weighty themes and discordant plot of this vengeful-mother tale.

Rated R.

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NOTICE FOR DIVORCE

I, Berecia Christopher Morris of 4230 Garrett Rd apt 6M, Durham, NC am attempting to contact Basil Winston Morris to inform you of a request for absolute divorce. You are required to respond no later than 40 days following April 1, 2018. I can be reached indefinitely at 919-951-9797 and/ or by email jahcoyamane@ yahoo.com

NOTICE TO THE PUBLIC Mobilitie, LLC is proposing to construct a 50-foot tall overall height pole structure located off Western Blvd and Hunt Drive, Raleigh, Wake County, North Carolina. Mobilitie, LLC invites comments from any interested party on the impact the pole may have on any Historic Properties. Comments may be addressed to: Public Notice Coordinator, 1375 Union Hill Industrial Court, Suite A, Alpharetta, Georgia 30004.

Comments must be received within 30 days. For questions please call 770-667-2040x111.

U0441 / SA

INDYweek.com | 3.7.18 | 37

4 1 9 3 2 5 7 8 6

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

6 7 6 9

75 8 4 9 8 5 7 2 2

5

1 8 69 3 4

deep dive 9 3

5 8 6

36 1

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2

6 3EAT • DRINK6• SHOP • PLAY 1 2 6 9 9 2 The INDY’s monthly 1 35neighborhood guide to all things Triangle7 3 3 8 1 Coming 8 1 9 6 7 4 March 2 21: Chapel Hill 1 5 4 1 5 8 9

3 4

9

5

9 4

For advertising opportunities, contact your ad rep or advertising@indyweek.com # 41 MEDIUM

8 1 9

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this week’s puzzle level:

# 42

# 98

© Puzzles by Pappocom

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box.

The numbers can appear in any order and diagonals are not considered.

Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

4

9

1 3 6 9

7

1

6 7 4 3

2 1 3 3 9 4 9 7 2 4 7 8 5 6 1 9 2 1 5 2 5 3 16 43 1 7 8 9 1 8 77 3 6 9 2 9 6 1 48 8 5 1 4 9 5 8 3 # 43

1 4 5 9

8

MEDIUM

6 2 3 4

MEDIUM 5 8 2 4 7 6 3 1 9

# 42

3 7 6 9 1 8 5 2 4

# 99

9 4 7 2 5 3 6 8 1

3 2 1 9 6 8 7 4 5

8 5 6 4 1 7 3 9 2

6 7 2 8 9 1 4 5 3

# 100 5 8 4 3 7 2 9 1 6

1 9 3 5 4 6 8 2 7

7 3 9 1 8 5 2 6 4

4 6 5 7 2 9 1 3 8

2 1 8 6 3 4 5 7 9

solution to last week’s puzzle

# 43

9 2 5 4

8 6 9 3

3 1 2 8

7 3 6 5

1 4 7 9

5 9 8 6

2 5 3 1

6 7 4 2

# 44

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

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

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

of 25 # 100 3 1 7 5 2 6 4 8 9 Page 11

5 6 2| INDYweek.com 9 4 8 1 7 3 38 | 3.7.18 4 8 1 7

# 44

1 2 6 7 9 4

3 4 9 8 6 5

5 7 8 3 1 2

2 8 7 9 3 6

6 1 5 4 2 7

3.7.18 4 9 3 1 5 8

8 3 1 6 4 9

7 5 4 2 8 1

9 6 2 5 7 3

4 7 2 5 9 6 3 8 1

1 8 9 7 4 3 2 5 6

3 5 6 2 1 8 9 4 7

6 9 5 8 7 4 1 2 3

2 4 3 9 5 1 6 7 8

7 1 8 6 3 2 5 9 4

5 3 4 1 2 7 8 6 9

8 2 1 4 6 9 7 3 5

9 6 7 3 8 5 4 1 2

CLASSY AT INDYWEEK DOT COM 30/10/2005

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please contact advertising@indyweek.com

Bolinwood Condominiums Affordability without compromise

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Convenient to UNC on N bus line 2 & 3 bedroom condominiums for lease

www.bolinwoodcondos.com • 919-942-7806

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To advertise or feature a pet for adoption, please contact advertising@indyweek.com

last week's puzzle

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DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ArtsCenter, Carrboro. Private lessons also available.

RICHARD BADU, 919-724-1421, rbadudance@gmail.com

CELEBRATE ST. PATRICK'S DAY

with live Irish music and special chocolatesBailey's, Guinness, Irish whiskey.

For details go to FB: specialtreatschapelhill

ELITE TRAINING FOR PROFESSIONAL SINGING & SPEAKING WWW.LAURECEWESTSTUDIOS.COM